* Barbara Ryman | Stanley Street Gallery

* Barbara Ryman

Represented by Stanley Street Gallery

Barbara Ryman has been a leading influence in Australian Contemporary jewellery for more than 30 years, primarily for her exquisite and extraordinary work with vitreous enamel.
In recent years she has spent much time in Japan studying Japanese enamelling techniques with master craftsman and mentor, Tsuyura Sakurai. These influences have provided many new directions of exploration that can be seen in Ryman’s work (or Barbara). “As a mature artist, I have sometimes found this challenging, but it has also been inspirational and transformative. I hope I will always take such leaps of faith”.

She has exhibited consistently both internationally and nationally and her work is held in both public and private collections e.g. Australian National Gallery, Canberra; the Powerhouse Museum, Sydney; Museum of Contemporary Enamelling - Salou, Spain to name a few.





Solo Exhibition

Click Here Fragments - 1st March to 18th March 2017 - Tank Exhibition to View Exhibition

Barbara Ryman, Vessel 3, Vitreous enamel on copper, Gold foil and Sterling Silver  - Please contact the Gallery for Price

Click Here Dreams and Shadows 10th September - 27th September 2014 - Tank Exhibition to View Exhibition

Barbara Ryman - Leaves Fall on Peach Mountain Pendent - Vitreous enamel on Copper with Sterling Silver 70x15mm $980



Group Exhibitions

A Time of Gifts - 4th December - 22nd December 2013


Barbara Ryman - Pendant and earrings

Barbara Ryman - Pendant and earrings

Click Here Red to Wear  - 24th July - 17th August 2013 to View Exhibition


Barbara Ryman - Brooch -Sterling Silver and Red Enamel $570

Barbara Ryman - Brooch -Sterling Silver and Red Enamel $570






1979 – 2017       Jeweller and Enamel Practitioner and Tutor
2012                   Attained 1st year of Japanese Language Diploma, Wollongong University
2006                   Graduate Diploma of Art (Visual), Faculty of Arts,Gold and Silversmithing School, ANU
1976-78              Art Diploma, Alexander Mackie College of Advanced Education, Sydney NSW
1979-80                 Jewellery Design Certificate, Randwick Technical College


2016                “Painting with Fire” workshop, Studio 303, Annandale, Sydney
2016                "The Fiery and Colourful art of Vitreous Enamelling" workshop, Gold and Silvermithing School, ANU Canberra
2015                "The Fiery and Colourful art of Vitreous Enamelling" workshop, Gold and Silvermithing School, ANU Canberra
2013                “Cloisonné and Basse-Taille Enamelling” workshop at the McGregor Winter School Toowoomba at University of Southern Queensland, QLD
2013                “The Textural Qualities of Vitreous Enamel” workshop at Contemporary Metal, Perth WA
2013                “Painting with Fire”, Basse-Taille and Cloisonné enamelling workshop, Sturt, Mittagong
2006 – 2013    Established studio based teaching practice of Brymfull Design Studio
2005                Cloisonné Enamel Workshop, Holy Transfiguration Monastery, Bombala NSW


2006                Skills and Development Grant, Visual Arts Board of the Arts Australia Council
2002               CASP Grant, Memento Project, Hay NSW
1982                Professional Development Grant from Crafts Board of Australia Council



2005    Graduate Materials Award. ANU School of Art, Canberra ACT
2002     Chairman’s Award, 36th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan.
1996    Award of the Syosenkyo Rope-way Shippo Museum, 9th Cloisonné Jewellery contest of the Japan Shippo Conference,   Tokyo, Japan.
1995    Award for Artistic Work, Biannual International Exhibition of Enamelling Art, Royal Ueno      Museum, Tokyo, Japan.
1993    Premier Award in the 'Valuable' Section of The 7th Cloisonné Jewellery Contest of the Japan Shippo Conference, Tokyo, Japan.



1993     Museum of Contemporary Enamelling Art, Salou, Spain
1992       Powerhouse Museum, NSW, Australia
1991       Queen Victoria Museum and Art Gallery, Tasmania, Australia
1991       Museums & Art Galleries of the Northern Territory, Australia
1990      Griffith Regional Gallery, NSW, Australia
1985       Crafts Council of NSW, Sydney, Australia
1981       Australian National Gallery, Canberra, Australia
1980       Queensland Art Gallery, Brisbane, Australia
1980-2017   Private collections



“Hiroki Iwata” by Antonia Lomny & Barbara Ryman, Issue 93, Craft Arts International

“The Shippo Art Village Project” by Barbara Ryman, Issue 92, Craft Arts International

“The Enamels of Mr Tsuyura Sakurai“ by Barbara Ryman, Issue 77, Craft Arts International

“Barbara Ryman – inflections of enamelled elegance and beauty”, by Antonia Lomny, Issue 75, Craft Arts International

“500 Enamelled Objects, a celebration of colour on metal”, Lark Books

“Virtual Gallery of Contemporary Fine Metalwork” a DVD by Kenneth Quickenden, Birmingham City University



2016    Studied with Mr Sakurai in his home studio in Nagoya, Japan
2013    Accompanied a small group of students to study with Mr Sakurai in his home studio in Nagoya, Japan
2012    Invited by the Shippo Art Village in Nagoya to study Japanese Enamelling techniques at the nearby workshops of Mr and Mrs Yamada. I was joined by internationally recognised enamel artists Jane Short from the UK and Harlan Butt from the USA
2010 & 2011    Studied with Mr Sakurai in his home studio in Nagoya, Japan
2007    Received a Skills and Arts Development Grant, Visual Arts Board of the Australia Council to study with Mr Sakurai in Nagoya Japan
2005    Invited to join a workshop taught by Mr Tsuruya Sakurai at the Shippo Art Village Nagoya, Japan
2005    Artist in Residence, Canberra Boys Grammar School, Canberra
Spring 2002 – Autumn 2003, Artist in Residence at the Bishops Lodge, Hay, NSW



2017    “Fragment”, Stanley St Gallery Sydney
2017    “How does your garden grow”, Goulburn regional Gallery, Goulburn
2016    50th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
2016    Group Enamel show, Artline Gallery, Temma, Osaka Japan
2016    “salon of Infectious Ideas”, Stanley St Gallery Sydney
2014    “Dreams and Shadows”, Solo exhibition at Stanley St Gallery, Sydney
2014    “Tinker Tailor Soldier Sailor”, 100 Women 100 Brooches 100 Stories, Latrobe Regional Gallery VIC
2014    The 48th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
2013    “Tinker Tailor Soldier Sailor”, 100 Women 100 Brooches 100 Stories, Logan Art Gallery QLD; Toowoomba Regional Gallery QLD; Rockhampton Art Gallery QLD; Gosford Regional Gallery NSW; Tamworth Regional Gallery NSW; Hurstville Museum & Gallery NSW
2012   “Heat Exchange”, Galerie Waidspeicher im Kulturhof Krönbacken, Erfurt, Germany
2012   “Heat Exchange” Shemer Arts Centre, Phoenix Arizona, USA
2012    “Tinker Tailor Soldier Sailor”, 100 Women 100 Brooches 100 Stories, Jam Factory Contemporary Craft and Design SA; Grafton Regional Gallery NSW; Wagga Wagga Regional Gallery NSW; Bunbury Regional Gallery WA; Geralton Regional Gallery WA
2011    The 44th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
2011    “Tinker Tailor Soldier Sailor”, 100 Women 100 Brooches 100 Stories, Artisan Gallery, Queensland
2009   “Fired up at the Top End”, Framed Gallery, Darwin, Northern Territory
2009   “Alumina”, recent work of Gold & Silversmithing Workshop Alumni, ANU School of Art Gallery, Canberra ACT
2007   Fusion, The Enamelist Society Exhibitions 2007, Cultural Arts Centre, City of Columbus, USA
2006   The 40th Memorial International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
2006   “Expeditions ‘06”, Metalab Studio & Gallery, Sydney
2006   “omniscience”, ANU School of Art, Visual Arts Graduate Season, School of Art Gallery, Canberra ACT
2005   The 18th International Cloisonne Jewelry Contest, Tokyo, Japan
2004   Memento Exhibition with Margie McClelland - Photoghrapher, Sturt Gallery, Mittagong, NSW
2004   Memento Exhibition, Shear Outback Museum, Hay, NSW
2004   37th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
2003   16th International Cloisonnne Jewellery Contest, Tokyo, Japan
2003   on the EDGE, 9th Biennial International Juried Enamel Exhibition, USA
2002   36th International Enamelling Art Exhibition, Ueno Royal Museum, Tokyo, Japan
2002   New Work exhibition, Barbara Ryman and Merilyn Bailey, Sturt Gallery, Mittagong, NSW
2001   Invitational “Colour and Light” International Indian Enamel Exhibition, New Delhi, India
2000   Solo Exhibition “Voyager”, Makers Mark Gallery, Melbourne and Sydney, Australia
2000   NCEG 5th International Enamel Exhibition, California, USA
2000   “Enamels…Out if the Fire”, International Exhibition, San Diego, CA USA
1999   Invitational ”Leaves of Glass and Other Treasures”, Fremantle Arts Centre, Western Australia
1999   33rd International Enamelling Art Exhibition, Tokyo, Japan

Artist Statement for Fragment Exhibition

Fragmenting mind, fragmenting world, fragmenting society, fragments of memory, disintegration, integration and nostalgia. Can what is broken be mended? Can it be transformed?

These are the somewhat disordered thoughts running behind the production of this series of pendants; how apt! They arise from watching the current politics, global warming dramas and my own longing for a simpler past and future.

I’m finding the world pretty challenging right now. The din of self-satisfied and strident voices, filled with venom, hatred and conviction, makes this creative soul despair. Its sends me off in search of silence, space, horizons, sensations; little truths that rise above the cacophony.

My series of pendants developed from overlaying an image of dried mud patterns of a desiccated waterhole over a shallow bowl. The bowl was then dissected and each piece became a fragment on which to work. When I studied at art school, before following a path into enamelling and jewellery, I loved drawing with pencil on paper. My creative life seems to have an underground river that connects my past and present. Themes and images return and present themselves in new forms for re-examination through my current understanding, perception and knowledge. There is a comforting continuum*. Bringing the drawing technique to my jewellery and the larger scale of the vessel has been both challenging and immensely enjoyable.

* Continuum - a continuous sequence in which adjacent elements are not perceptibly different from each other, but the extremes are quite distinct.


Artist Statement for Dreams and Shadows

Dreams and Shadows

eyes blur and soften
distant murmurs awaken bright dreams and shadows

Dreams and Shadows draws upon the artist’s regular visits to Japan, studying with Japanese Master Mr Tsuruya Sakurai, and is an exploration of wearable objects and vessels. The qual- ities of vitreous enamel and the influences of Japanese culture and tradition, provide Ryman with a pleasurable and creative language in her latest work.

“My whole life has been lived in Australia and naturally I work with what I see around me. I filter and transform these influences into my work. Even so I have found sensibilities within myself that often chime with elements of Japanese aesthetics and culture. In Japan there is a respectable tradition of honouring by copying and perpetuating designs. My teacher, in his job as a traditional company craftsman, often followed this precept. His private work frequently took quite a different direction! My approach to design, developed in a culture where individual expression of identity is strong, often drew comments of enjoyment from him and I relished the challenge of marrying traditional knowledge and contemporary vision. I used the form of the Haiku (above) as an exercise, to clarify in my own mind, my pathway into the creative state. It is a choice, an action of letting go so that I may listen with an internal sensor that seems to reside within my spirit and mind. This work has come up from so deep down that I have virtually worked instinctively straight into the pieces. It is an organic process that bypasses intellect as it develops; a visceral production that, when it has achieved a certain form, then the intellect likes to step in and have a little look! "Hmmm, what have you been up to Barbara?"

When I made my first short visit in 2002 it was to attend the opening ceremony of the 36th International Enamelling Art Exhibition at the Ueno Royal Museum in Tokyo. I went there to receive the Chairman’s Award of the Japan Enamelling Artist’s Association for three brooches that had been accepted for exhibition. My work had been recognized with other awards in previous JEAA exhibitions so I already had an awareness that something in my work and its aesthetic sensibilities appealed to my Japanese colleagues. My first experience of Japan showed me how much their culture appealed to me!

I have been met with a generosity of spirit and good natured ease and openness that has made my visits to Japan both inspiring and enjoyable. My teacher has been determined to freely pass on to me his knowledge, understanding the vital importance of giving to the future. My travels there have given me the opportunity to absorb so many influences. Every aspect of Japanese life and scenery is fascinating to me. My visits have always focused on study and therefore geographically speaking I have not travelled far. This does not worry me as I love to become familiar with a place, to feel part of the scene. I can connect with my enamel friends and be a part of society while enjoying one of my favourite cuisines.

Like any visitor I take many photographs and my eye seeks out colour combinations, textural compositions and scenery that capture something of what I perceive as a Japanese essence. Only recently I have been delving into Japanese art history and learning about the art from the Rinpa School, which is a style that encompasses a broad period from the Momoyama Bunka or culture (1568-1603) and the Edo period (1603-1868). I was so surprised to discover that many characteristics of this style resonated strongly with my own work. Rinpa artists use nature as a central theme. They are particularly adept at reducing an image to its essential elements, capturing the subject’s spirit and essence. Gold and silver foils are often included to create rich and elegant elements or backgrounds. It is not unexpected that the Japanese influences I consciously and unconsciously absorbed and admired have surfaced in my pieces, and of course I wish to include them, but it was delightful to find an articulation of something that I was not yet fully aware. How strange, and how appropriate!”