Madeleine Hall: Between Worlds
For Madeleine Hall, ArtRage is something she’s grown up with – visiting the exhibition for the past few years, poster on her wall, imagining what it might feel like to be part of it.
This year, she is.
“It’s amazing, it's super exciting,” she says. “I’ve been coming for years, so to now be included… it’s pretty surreal.”
Madeleine’s featured works – including The Space Between, Trio of Mourners, and White Rabbit – form part of a deeply personal ceramics practice that explores the space between human and animal, instinct and identity.
Her interest in this intersection began early, shaped by a fascination with both art and science. “I’ve always been interested in animals and our connection to them,” she explains. “It kind of blurs the line between fact and mythology.”
That idea carries through her work in the form of hybrid figures. Human bodies feature animal heads, capturing a sense of tension, vulnerability, and transformation.
“It’s a self-portrait, in a way,” she said. “Exploring internal relationships between myself and the outside world.”
Madeleine’s process is grounded in making, again and again. Early in the year, she worked methodically, sketching and researching forms. But over time, her approach shifted.
“I had to let go a bit,” she says. “Just sit down with the clay and make.”
This change marked a turning point. Rather than striving for perfection, Madeleine embraced a more intuitive, responsive process – allowing textures, marks, and imperfections to remain.
“I think that’s when the work really started to come together.”
Her glazing process reflects this openness. Particularly in her raku-fired works, outcomes are unpredictable. Surfaces crackle, colours shift, and no two pieces are the same.
“You don’t know what’s going to happen,” she says. “And that’s part of it.”
One of her standout works, White Rabbit, came from a moment of restraint. After experimenting with more complex finishes, she discovered the power of simplicity – letting the natural effects of the firing process speak for themselves.
“Less is more,” she reflects.
Madeleine’s dedication has been recognised with the Art Studio Practice Examiners’ Choice Award, a testament to both her technical skill and her willingness to take risks.
"The work showed formidable technical expertise in hand-building and glazing, and the panel was impressed with the volume of work produced to an exceptional standard," notes Jack Robert-Tissot, TCE Examiner.
"The candidate’s carefully considered selection of final works for display showed the restraint and discernment of a mature practitioner."
Next, Madeleine plans to study medicine while continuing her art practice alongside it. Though ceramics can be harder to maintain without access to a kiln, she’s already finding ways to keep making.
“I just keep going,” she says. “That’s the main thing.”
Explore Madeleine's work below.
Explore more of ArtRage: The 2025 selection