Juz Kitson

All I Need

16 May 2026 – 05 Jun 2026

The elegiac works in Juz Kitson's 18th solo exhibition represent a personal rumination on the themes of mortality and renewal, traversing notions of grief, endurance, lament, acquiescence, jubilation and generational continuity.

Like many examples throughout nature, Kitson's work can also be ambiguous; within the beguiling intricacy of decorative flourish and surface finish, she often explores far more confronting aspects of our lived experience. The artist is interested in beauty that stirs unease, within a practice that encompasses psychological terrain and the porous border between attraction and repulsion.

The surreal, or more gothic, qualities present in Kitson's work stem from an acknowledgement of the contradictions shared with the world we inhabit; one that can be relentless, violent, grotesque, erotic, regenerative, and exquisite. Those more disconcerting aspects coexist within her lavish sculptures. "A form might appear ornamental at first, but then it begins to feel visceral, excessive, unstable, even abject. That tension is where my work lies... after all, that’s so much of what life is about," she observes.

Kitson's multidisciplinary practice has always been materially led. The materials she employs are not illustrating an idea from the outside; they generate the concepts she works through in the cycle of handling, arranging, testing, firing, breaking, and rebuilding. "Porcelain can be both conceptually complex and materially ambitious and always makes me think more deeply about patience, about surrendering to the process, and about the relationship between control and spontaneity."

There is often a latent narrative of transformation within Kitson's œuvre, elements that appear hybridised or anomalous. "It has been suggested that people's reaction to my work is broadly either ‘loving or hating it’, and I’m pleased about that. I want it to satisfy, but I also want it to provoke a response in whatever form that may be," Kitson agrees. "So, while the finish can appear highly resolved, I hope the emotional register remains unsettled. I want the work to hold both seduction and disturbance, because that feels closer to a lived experience."

Inga Walton.