Felicity Burman is a ceramic artist whose practice is grounded in a lifelong engagement with clay. Introduced to pottery at the age of four, her early experiences were shaped by a culturally rich upbringing, including formative encounters with major art institutions and performance spaces in Melbourne. These influences established a deep and enduring commitment to an artistic life.

Burman completed a Bachelor of Fine Art in Ceramics at Prahran, where she was mentored by Kevin Boyd, Deborah Halpern, and Mary Lou Pittard. Over a career spanning more than three decades, she has developed a distinctive visual language informed by personal narrative, memory, and imagination. Her practice is shaped in part by lived experiences of trauma, resilience, and healing, which continue to inform both her process and the emotional undercurrents of her work.

Working primarily with midfire and white sculpture clays, Burman creates both wheel-thrown and hand-built forms that are structurally inventive and richly decorative. Her works often incorporate sculptural elements—limbs, handles, and ornamental extensions—that challenge traditional functional boundaries. Surfaces are painted with purposeful colour and symbolic motifs, using brightly coloured glazes and underglazes. Beneath their vivid, playful appearance, her works often hold quieter tensions, exploring vulnerability, fear, and emotional complexity alongside joy and imagination.

Burman lives and works on a permaculture property in Myers Flat, near Bendigo, where her solar-powered studio supports both her artistic practice and teaching. She draws ongoing inspiration from the animals she lives with—native, domestic, and livestock—as well as the gardens she cultivates and the bushland she tends.

An active participant in the contemporary arts community, Burman regularly exhibits in group and solo exhibitions, hosts open studios, and presents her work at artist markets and galleries. Her work is held in private collections in Australia and internationally. With an ongoing commitment to making and exhibiting, she continues to develop new bodies of work.