In this group of vessels and jewellery, Bauhuis examines states of being both physical and metaphorical, and the slippages that occur within. From the unpredictable confluence of metal alloys to his philosophical play with dubious archaeological narratives, Bauhuis's work is informed by the uncertain spaces between the possible and impossible, history and myth.

Through March and April this year, Bauhuis has been in residence at Fundere Foundry in Sunshine, in Melbourne's west. This has been an immersive period of experimentation and collaboration with the foundry team and has allowed Peter to push beyond the bounds of the artist's studio. High-stakes processes of development and trial casting have resulted in the largest objects the artist has ever produced. This sense of risk and immediacy is inherent in the vessels on display, with their swirling patterns and occasional, unexpected protrusions testifying to the inherent chance in that moment when liquids, colliding and melding, become solid.

In these latest works, vessels appear to split, like a cell cleaving in two; the notion of doubling playing out explicitly in their form as well as in the colours of two alloys mixing. Peter brings decades of technical experience and intuition to bear, making each new work a unique balancing act of mastery and happy accident. As Martin Schmidt writes, "time and again, [Bauhuis] has transcended and extended the technical possibilities of the lost wax casting method."

Bauhuis works with a selective library of forms - tri-legged, squat or tall vessels; rustic chains, 'blobs' reminiscent of fungi or stones, sometimes with pareidolic faces appearing and winking at us. In his jewellery, Bauhuis often builds painstaking, complex internal structures through which a molten metal will flow to form an outer skin. He then leaves these structures in place like fragile skeletons. To make the chains - in a bravura act of wax modelling, he builds the wax chain links around a delicate 'tree', so the entire necklace, when each link is cut from its individual sprue, falls away, fully linked. In his recent Fly series, intricate wing patterns are replicated in wax, then metal. Regardless of the method, Bauhuis reveals the characteristics of his materials in an entirely fresh way.