Amy Claire Mills a textile artist, curator, and producer.
2025 Biennial Year Find out more
A graduate of the University of NSW with a Bachelor of Fine Arts (Honours), Amy is a neurodivergent and disabled artist whose work delves into themes of advocacy, identity, and resistance. Focused on disability culture, Amy explores its social and political dimensions as both an artist and subject. Her art serves as a form of protest, blending softness, tactility, empathy, and care with elements of dissent, disruption, and provocation.
Since 2016, Amy has worked with national institutions, festivals and galleries, such as the Sydney Biennale, Art Gallery of NSW, Firstdraft, and Outer Space, to curate and produce exhibitions and events. Her focus is on creative access and increasing representation for disabled artists across the arts and cultural sector.
She is a founding member of the performance collective Show Us Your Teeth and the art collective New Moon. In 2022, Amy curated ‘Out of Order’, a major exhibition that was disability-led and brought together video, sculpture, performance, and installation artworks.
Amy has worked as an access consultant and is the Arts Development Manager at Accessible Arts. She creates from her home studio in Gadigal/Sydney, where she continues to make delicious soft sculptures.
Liverpool Biennial 2025
'Deep End', 2025
Multidisciplinary installation with sculptural body supports, inflatables, plush text sculptures, quilted patchwork towel, wall mural, textile flags, carpet Amy Claire Mills is a Neurodivergent and Disabled artist whose work delves into themes of advocacy, identity, and resistance. Her art serves as a form of playful protest – using tactile materials and bright colours, the artist blends softness, tactility, empathy, and care with elements of dissent, disruption, and provocation.
‘Deep End’ is an immersive sensory installation that invites exploration through touch, sight, and sound. The project explores the concept of accessible and adaptive ‘third spaces’. The term, third spaces, which was coined by the sociologist Ray Oldenburg, refers to spaces beyond home and work, which are informal social environments. However, for many
Multidisciplinary installation with sculptural body supports, inflatables, plush text sculptures, quilted patchwork towel, wall mural, textile flags, carpet Amy Claire Mills is a Neurodivergent and Disabled artist whose work delves into themes of advocacy, identity, and resistance. Her art serves as a form of playful protest – using tactile materials and bright colours, the artist blends softness, tactility, empathy, and care with elements of dissent, disruption, and provocation. ‘Deep End’ is an immersive sensory installation that invites exploration through touch, sight, and sound. The project explores the concept of accessible and adaptive ‘third spaces’. The term, third spaces, which was coined by the sociologist Ray Oldenburg, refers to spaces beyond home and work, which are informal social environments. However, for many Disabled people, third spaces often default to medical environments like doctors’ waiting rooms and outpatient clinics. Public pools have long served as adaptive third spaces existing somewhere between the social and the medical. Building on this concept, ‘Deep End’ invites you to wade into a future where care, access, and inclusion are part of the design from the very beginning. From the moment you enter, a sense of play links the elements throughout the space. A large patchwork towel, made from layered fabric, evokes the familiar rituals and textures of places like public baths and swimming pools. The words ‘DEEP END’ sit high on a platform, their mirrored fabric catching the light like sunlight on water. The opposite wall features a mural inspired by the Liverpool City Council coat of arms, adapted to centre disability culture. Throughout the space, inflatable dumbbells, a kickboard, and sculptural body supports offer moments for rest, movement, and play. Dolphin motifs feature throughout the installation, paying homage to the dolphin shows held in the 1970s at Liverpool’s public baths, highlighting the historical significance of these spaces as vibrant community hubs. Courtesy of the artist. Co-commissioned by Liverpool Biennial and DaDa, with support from Paul Hamlyn Foundation.
'Deep End', 2025
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Amy Claire Mills, ‘Deep End’, 2025. Liverpool Biennial 2025 at Bluecoat. Photography by Mark McNulty.
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Amy Claire Mills, ‘Deep End’, 2025. Liverpool Biennial 2025 at Bluecoat. Photography by Mark McNulty.
