Merran Esson has lived in the vast interior of inland Australia as well as amid the intensely urban confines of its largest cosmopolitan city – Sydney. Her work expresses the contrast between these extremes. Stunned by the way physical environment imposes boundaries on scale, form and function, Esson produces vigorous clay vessels (often pierced) that invite an exploration of the polarities of inside/outside, interior/exterior and belonging/exclusion. Esson is also inspired by the vagaries of texture and its reflection in the Australian landscape, particularly where there is a contrast between the environmental and the industrial; her large vessels have unique textural properties, which probe vernacular ideas about surface and form. Investigating concerns of identity and location, Esson’s works respond to different physical environments and re-evaluate scale, form and function. Recent works, begun in the foothills of the Snowy Mountains near Tumbarumba in NSW in south eastern Australia are rural in origin but have an industrial scale. Esson combines liner patterns of the land as seen from the air with surfaces that resemble aged and corroded metal, as found in abandoned water tanks left to rust in back paddocks.