Having always drawn inspiration from nature, Sim Luttin's current interest is in exploring yearlong time-based projects that respond to the everyday to create conceptual bodies of work. She has exhibited extensively nationally and internationally and has work in public and private collections worldwide. She is represented by Pieces of Eight, Melbourne and Charon Kransen, New York.

Born in 1977 in Melbourne, Sim has European heritage with her father's side living in Switzerland. She grew up in the outer eastern suburbs of Melbourne and was encouraged to learn and do things in a meticulous and thorough way and she approaches her creative practice in much the same way.


There is a sense of calm and sophistication in Sim's work: the delicacy of the forms and the attention to detail created in her signature silver and black colour scheme. Her distinctive aesthetic embraces her love of oxidised sterling silver, along with the carefully considered additions of alternative materials, such as wood, graphite, glass, and sublimated aluminium. She transforms the materials she works with into pieces that are creative, poetic, and sensitive. 1


Nostalgia and melancholy imbue her work, which delves into nuances of the everyday and results in reflections that are conceptually engaging and beautiful. Through her work, Sim challenges her self-imposed paradigms by physically recording and recreating her daily experiences and environment, allowing her time to reflect on aspects of the human condition. 


Her practice plots a course across time: examining notions of ritual, personal authenticity, and materiality—she inserts meaning at each point on a highly personal internal map. Her practice is grounded in daily routine, and the first charted position is her gaze: a still or moving image is taken, uploaded, and then distilled. A brief pause allows ideas, motifs and shapes to emerge that is translated into objects. This pause enables Sim to consider what these moments are presenting, searching for meaning in the often mundane, continually reaching for a connection between instinct (image) and intellect (object). 2 


In the mid-2000s Sim began time-based, yearlong, piece-a-day investigations that attempt to find meaning in the daily habit. Her object-based practice has expanded to include photography and video that she records on her camera phone. She then numbers, titles, and organises the images into monochromatic and chronological collections that she archives, forming a rich source of research material to inform new series' of contemporary jewellery.


She has exhibited extensively in solo and group exhibitions nationally and internationally including Powerhouse Museum, Sydney; Latrobe Regional Gallery, Victoria; Museum Bellerive, Zurich; Galerie Marzee, Netherlands; Museum Voor Moderne Kunst, Arnhem; Museum of Arts + Crafts, Itami; Velvet da Vinci, San Francisco; SoFA New York and Chicago with Charon Kransen Arts. She has presented seven solo shows in Australia and the USA and has work in the collections of the Art Gallery of South Australia; Bluestone Collection, Melbourne; Bundoora Homestead Art Centre, Melbourne; and Gallerie Marzee in the Netherlands. 


Sim lives and works in Melbourne as a contemporary jeweller, craftsperson, and artist, while also working as the Curator & Gallery Manager at Arts Project Australia and is Deputy Chair at Craft Victoria. Sim has over 20 years of experience as a maker and curator, and she finds her inspiration in nature and objects located in the everyday.

1. Prof. Randy Long & Dr Nicole Jacquard, 2008

2. Ramona Barry, 2015

I respectfully acknowledge the Wurundjeri people of the Kulin Nation, the traditional custodians of the land on which I create and exhibit art. I pay my respects to Elders past and present, as well as to all Aboriginal and Torres Strait Islander people in the wider Melbourne community and beyond. Indigenous sovereignty has never been ceded. I acknowledge that I work and live on country on which Members and Elders of The Wurundjeri people and their forebears have been custodians for many centuries and on which Aboriginal People have performed age-old ceremonies of celebration, initiation and renewal. I acknowledge their living culture and their unique role in the life of this region.

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