Lié Conversations / JUNE 2026
In conversation with Tahni Bouhadana
Meet Tahni Bouhadana - Melbourne-based artist and sculptor. The mind behind The Keepsake, our first
object series. Tahni’s practice is grounded in ceramic craftsmanship and extends into resin-based experimentation. She has recently completed a Bachelor of Fine Arts at RMIT University, and now creates her work in her
Brighton studio.
Part of a creative family, Tahni’s work reflects tactile forms that explore ritual, intimacy, and the quiet
presence of material within the spaces we inhabit. In connection with our launch, we sat down with Tahni to
talk about her journey, the details behind our piece, and what lies ahead
Can you tell us about your journey into art, and what led you to sculpture as a practice?
From a young age, I always found myself exploring various creative mediums and techniques. From painting, small-scale sculptures, weaving & tapestry, the moment I explored my ceramic practice was when I fell in love and dreamt about refining my skill. Moving into fine arts through an academic lens led me toward a broader range of sculptural techniques. My learning in the world of sculpture is never ending. That’s what fascinates me so much - the fact that I will only completely realise my work in the very final moments of creation.
Growing up in a creative family, how has that environment influenced your perspective and
work?
I am constantly sourcing inspiration from my dad, who works as a carpenter. We work together very closely in creating my artworks. I am on a journey in understanding my pull towards craftsmanship as a conversation between my personal lineage and the capability of material.
I come from an ancestry of craftspeople through a variety of mediums - cabinetry, cobbling, ceramics, gold and silversmithing and textiles. My grandfather, Rafael Bouhadana (on my dad’s side) was a cobbler and spent time creating puzzles and three-dimensional paper artworks. On my mum’s side, my grandfather, Alfred Mandelbaum, was a ceramicist working in the carving and treatment of forms inspired by Mesopotamian and Egyptian ceramics. I will always consider my innate attraction to creating with my hands as a unique extension of this familial connection to craft
Working primarily with ceramics, and now resin as your newest exploration, how did these materials become your foundation?
Twelve years ago, I remember having my first desire to explore wheel-throwing. I’m so enticed by this medium’s never-ending ability to surprise. Whether in a good or bad way, ceramics and sculpture keeps me on my toes. Where the realm of ceramics satisfied my fascination in creating structural and organic works, resin and sculpture led me toward a new world of thinking. A world that also connects me to the work of my father, thinking in ways of mold making, machinery, mathematics and a whole new perspective of studio work which has been so exciting to me. There’s so much problem solving and learning in these foundations that keeps me inspired - I think that’s why I’ve never moved away from the practice. While I’ve taken breaks, I always come back to create and learn more.
Where do you turn to for inspiration, or what tends to spark new ideas in your practice?
I find inspiration in the nature of material - it’s formal structure and balance. For example, reducing the form of a cup to its most simple state - a cone. I try not to overcomplicate, but find the material that will sing and show its complexities through the form it takes.
Do you have a ritual or routine that helps you stay creatively focused or inspired?
I have to maintain a certain amount of space and time away from my practice to stay focused and inspired. For example, being forced or rushed to create in my studio results in work that I am not proud of. I also like giving the pieces I create their moment to shine without forcing too much repetition. In saying that, lots of pieces I create carry familiar elements to each other.
How do you define success, personally and professionally?
For me, I need to be clear minded, levelheaded and in tune with myself to be successful in the things I do. Success shows itself when I am able to do everything with mindful intention. Of course, there are things out of my control that define my success. For example, whether a firing or cast will complete itself in the exact way I want, is not always up to me. So in that regard, success for me is also letting go of control and not holding the things I create too closely to my heart until they are complete.
What has been the most exciting part of creating a piece in collaboration with LIÉ STUDIO?
Having such an amazing and strong team in LIÉ to appreciate and support my way of creating has been such a pleasure. Through this collaboration I’ve been so grateful to apply silver and black Onyx as unique materials in conversation with resin. I have always wanted to do so; so it’s been so exciting to extend my practice with LIÉ’s support. Designing this object felt so aligned with the visual and tactile world of LIÉ’s creation, so every step of this journey has been like puzzle pieces falling into their destined place.
How would you describe your aesthetic in three words?
Balanced, playful and reminiscent.
What’s your relationship with jewelry and accessories - do you have a piece that holds special
meaning?
My grandparents, Rachel and Alfred Mandelbaum owned a jewelry store in Melbourne in the 1980s. I have grown up hearing stories of how my grandma used to save up, buying herself special jewels which always inspired me to see the importance and pleasure in fine work. I always take deep note of jewelry and accessories, always having an appreciation for pieces that compliment my outfits - extravagant, yet acting as natural extensions of my presence. My grandma’s Topaz engagement ring is one of my most special heirlooms.
What’s next on the horizon - or something you’re currently excited about or working on?
I’ll be spending my summer primarily in Amsterdam. I have brought along my Milk, porcelain collection to showcase at dear Ashley Yohara’s studio at the end of the month. Although I won’t be near my home studio this summer, I look forward to opportunities in new spaces.
