Sarah Rasheed
Zahra Ali Raza
Jada Sharp
Ella Southam
April Strevens
Mia Smith Ballard
Sia Clignon
Caylim Karpany-Drover
Jareth Newchurch
Kirene Newchurch
Kuliah Power
In 2024, Adelaide Contemporary Experimental (ACE) initiated a pilot program called Future Studios, designed to immerse high school students in the vibrant and challenging world of contemporary studio practice. Over the course of a transformative week, groups of young artists, many of whom were First Nations, had the opportunity to learn from a diverse range of professional mentors, predominantly First Nations artists working in contemporary and experimental practice. The program was not just about learning new techniques but also about unpacking preconceptions about what art is and can be, how artists work day to day and make sustainable careers, and exploring the intersections of culture, identity, belonging and personal expression through art.
The works presented here are the products of these students’ intense creative engagement during the program. They demonstrate a sophisticated awareness of both cultural narratives and contemporary artistic techniques, showcasing the range of ideas and expressions that emerged from this unique artistic journey. While these young artists are at the beginning of their creative careers, their works suggest a promising future for art that is rooted in identity, observation and the ongoing dialogue between the past and the present in evolving ways of doing, knowing and being.
Combined Culture by Caylim Karpany-Drover reflects a fusion of his Narungga heritage with the aesthetics of Japanese symbolism. Through the creation of masks representing native Australian animals like the dingo, kangaroo, wombat, and koala, Karpany-Drover demonstrates the possibilities of how cultural fusion can be both respectful and celebratory. The incorporation of traditional Japanese aesthetic elements like koi fish and graphic smoke patterns echoes the artist’s interest in how cultures can influence one another while retaining and recognising their own individual identities. This blend of influences is not just a stylistic choice—it is a statement on the potential for contemporary artists to cross boundaries and reclaim narratives, blending tradition with curiosityfuelled exploration.
The theme of connection to land and culture resonates throughout the exhibition. Jareth Newchurch’s The Gynburra explores the deep connection Narungga people have with the Gynburra (butterfish), a staple food source that has sustained families for generations. By focusing on the intricate patterns on the fish’s skin, rather than its physical shape, Newchurch’s work emphasises the intricate beauty of nature’s details and the relationship between Narungga people and Country. Similarly, Kireen Newchurch’s Widhadha invokes a story of the Great White Pointer Shark. Through the incorporation of bark and clay into her work, Newchurch interprets the story’s cyclical process of growth and transformation, providing a contemporary, expanded take on traditional knowledge.
In her Weavings of the Rainbow Serpent, Kuliah Power has produced a series of vibrant abstract works on circular structures with suspended woven components. By exploring thoughtful relationships between colour and form, Power evokes the harmony between earth, sky, and water, while also paying a kind of homage to the spiritual laws that govern the natural world. These works underscore the idea that nature, creation and contemporary expression can coexist in powerful ways, offering new interpretations of cultural stories.
As much as these works celebrate the beauty of culture and nature, some pieces also grapple with more sombre reflections on the human condition. Sia Clignon’s 3 Horses Named Death and Deaths Party explore themes of mortality, fear, and cultural attitudes toward death. Drawing inspiration from the dark, complex hatching techniques of Otto Dix and Francisco Goya, Clignon’s works offer a visual critique of contemporary society’s disconnection from death, contrasting the solemnity of traditional death rituals with the modern-day avoidance of this hard, but inevitable truth.
April Strevens’ “expanded painting”, Where is my Mind, invites the viewer into a layered exploration of identity and perception. Through an imaginative mix of surrealist, expressionist and 3D construction techniques, Strevens confronts the complexities of self-awareness, mental health, and the pressures of societal expectation - as well as our conventional expectations about what constitutes a painting. The work’s fragmented composition, expanded across multiple planes and diverse media, speaks to the splintered nature of human consciousness. Strevens’ work questions how we perceive ourselves in a world that often seems to overlook or underestimate our inner worlds, in favour of taking reference points from cliched measures of outward performance.
Happily, perhaps even somewhat unexpectedly in a world brimming with crises, there is also a place for idealism in the work of the Future Studios: 2024 artists. Zahra Ali Raza’s soul mate explores the concept of true love, inspired by the impression of pure romance depicted in Korean cinema and by Islamic teachings about romantic love as a divine pairing on the level of souls. The piece portrays a moment of connection between two figures, with gold leaf framing the canvas to evoke a dreamlike quality, while contrasting a peaceful cityscape against surrounding darkness to symbolise love’s ability to overcome adversity regardless of the circumstances. Using loose brush strokes, acrylics, and oil paints, the artist creates a dynamic interplay of colour and light, capturing the warmth and depth of the experience of loving and being loved, through a stylised, yet emotionally resonant composition.
Mia Smith Ballard’s Carved Pathways and Ella Southam’s The Path Through Life take an introspective, personal approach to cultural connectivity. Smith Ballard’s piece draws from traditional Ngarrindjeri symbols and the techniques she learned during the program, creating a visual map of her personal journey and cultural heritage. Southam’s painting, with its central image of a kangaroo and its tracks, evokes life’s many pathways that might be filled with struggle, complexity, beauty (and more). Both works suggest that art can be a powerful means of navigating personal and cultural histories, offering a way to visualise and connect with one’s past while moving toward an uncertain future.
Jada Sharp’s Dusk’s Divine Reflection explores the celestial connection between the sun and moon goddesses. Sharp’s inventive use of a range of mixed media—including gemstones, gold paint, and lace—adds a tactile depth to her celebration of the divine feminine and the power of natural forces. The contrast between light and dark, warmth and coolness, is a reflection of the artist’s deep engagement with both personal and timeless mythological themes, showing how art can serve as a portal to both personal and universal truths.
Future Studios: 2024 exemplifies the creativity, resilience, and potential of the next generation of artists. Besides the joy and challenge of art-making, the visual arts activate skills in visual literacy, such as understanding and critically analysing media and messaging - skills that are highly adaptable and have long-term benefits.The young artists featured in this exhibition have shown us that contemporary art can be a means of exploring personal and cultural identity and tackling complex social issues from the perspective of youth with already so much to say. Despite the challenges that contemporary artists face — navigating the pitfalls of an ever-changing art world, negotiating the pressures of commercialisation and sustainability, and finding balance between the internal and the external, the personal and the political — the works of these talented, committed teenagers offer a hopeful vision for the art of the future. They remind us that art is not just about creating beauty or soothing aesthetic experiences, but also about asking questions, telling stories, and making connections across time, space, and culture.
Louise Dunn & Dr. Danni Zuvela
Executive Director & Artistic Director, Adelaide Contemporary Experimental
Mia Smith Ballard
Carved pathways (2024)
Plaster, marker and acrylic paint. 50cmx 60cm canvases
For my piece, my inspiration was to create my journey and story through art. I have done this by using traditional Ngarrindjeri symbols and using specific materials to convey my message. During the program I learnt a variety of charcoal, acrylic, watercolour and oil paint techniques, which I value, and believe contributed to the quality of my piece. My mob, Ngarrindjeri, the people of the Coorong, are my lifeline. Knowing about my country and my background is a huge part of me and how I live.
Mia Smith Ballard (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
3 Horses named death (2024)
graphite & fine line pen
59.4x84.1cm
Deaths Party (2024)
graphite & fine line pen
29.7x42cm
Masked Society (2024)
graphite & fine line pen
29.7x42cm
Sia Clignon (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
We don’t notice death in our society anymore like we used to, because of improved health practices, cleanliness and longer average life expectancy. However, because of this, our perception and feelings towards death have changed. When our life expectancy was in the 30’s, death was a common thing that people experienced in the world around them on a weekly agenda. Because of the denormalised perception of death in modern day, death is typically ignored and feared in our society as we have lost touch with it. Death used to be a standard acceptance as people died often, typically in their own homes surrounded by family; the acceptance came from their inability to change someone else’s fate, other than to support and accompany them as they pass. But this has changed over time as humanity has built up this fear of dying. We have capitalised on the idea of immortality, trying to forget about the only thing that is certain in our life – That we will all die one day.
Taking inspiration from Otto Dix and Fransisco Goya’s hatching works, I have created three works looking into this theme of how western society ignores death. With graphite and Fineline pens, I used parallel hatching to create detailed scenes to show this theme visually.
The work, Deaths Party explores specifically how different cultures accept the context and process of death and dying. My main inspiration was the Mexican celebration, The Day Of The Dead. Through costumes, bright colours and music, death is recognised to be a natural aspect of life, and replacing the sad and typically morbid association with a more positive outlook. The two characters in the background of the portrait are representing this acceptance by other cultures, as the two standing in the foreground represent western society completely oblivious to the impotence and acceptance of the natural occurrence of death.
3 Horses Named Death is showing death through the visual representation of white horses; a common misconception is that black is the colour of death and gloom. But a pale horse was one of the first personifications of Death. Dividing the people into three groups of ignorance, forceful confrontation and acceptance, I show the main feelings and experiences with death. My final artwork, Masked Society, is a more blunt representation of western societies’ fear and avoidance with this theme. With the masks covering the character in the foreground’s face, it is showing how we physically avoid the topic by masking and protecting ourselves, despite death being all around us; much like the looming figure in the background of the work.
Sia Clignon (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Caylim Karpany-Drover Combined Culture (2024)
Acrylic paint, Mache mask 30 x 40cm
In my art making, I like to combine my Narungga culture with other cultures. In this piece I have combined Narungga culture with Japanese symbols. I have always taken a liking to Japanese art but wanted to take inspiration in a different way for this piece.
I have made Japanese style masks that incorporate native Australian animals, dingo, kangaroo, wombat and Koala. I was inspired after seeing our coordinator Jake Yang’s work, specifically the graphic smoke design and Koi fish. I am also particularly inspired by the natural environment around me, including animals.
Caylim Karpany-Drover (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Jareth Newchurch
The Gynburra (2024)
Acrylic paint
40x50cm
This artwork is about the Gynburra (Butterfish) which is an important food source for Narungga people.
Instead of focussing on the physical shape of the Gynburra, I focussed on the patterns on its body. These patterns can only be seen when it is alive in the ocean and change on its body as the fish moves. There are also repetitive spots that can only be seen on young fish. The Gynburra is still a food source for me and my family today, where bringing home a feed of fish is something that brings the family together.
Jareth Newchurch (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Kirene Newchurch
Widhadha (2024)
Acrylic paint, tree bark, clay. 31 x 21cm
My artwork is based on the Nharangga people’s Widhadha story.
Through my interpretation of this story, I wanted to represent the main figures using sculpture and painting.
In this story the fish is wrapped in bark and thrown back repetitively in the hope it gets bigger which is represented through use of natural bark material. The silhouette of the shark foreshadows the ending of the story where the shark emerges from the ocean in the place of the fish.
Kirene Newchurch (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Adapted from information on Nharangga Aboriginal Progress Association Inc. website. Provided by Sonya Rankine
This is a story about the Great White Pointer Shark for the Narungga people.
Nharangga dhura (Narungga people) lived in four clan groups on Guuranda (Yorke Peninsula). Each clan group had a totem, the Wawi (female Red Kangaroo) for the Garnarra clan in the north, Garrdi (Emu) for the Windara clan in the east, Wildu (Eagle) for the Warri clan in the west and Widhadha (Shark) for the Dhilba clan in the south. These four clans are the ancestors of the Nharangga dhura (people).
Each clan group lived in their own areas of Guuranda and they used smoke to signal each other and invite to celebrations and gatherings.
The Widhadha (Shark) Dreaming story is connected to the southern Dhilba clan group.
One day a group of fishermen walanggudja (wrapped) the guuya dhuggudja (small fish) in bark and sent this guuya (fish) out to sea to bring back other fish for a big celebration. The men would call out for the guuya (fish) to come back. The guuya (fish) returned but it had outgrown its bark wrappings. It was walanggudja (wrapped) in new bark and sent out again, and then called back again. Each time it came back the bark was too small and had to be replaced by a new bigger piece of bark as the fish had grown bigger and bigger.
The last time it came back it was the dhawara guuya, biggest fish they had ever seen and had enormous teeth. When it opened its mouth at them it was Widhadha, the Great White Pointer Shark. They all jumped back, and called out,
“Badja!”.
Kirene Newchurch (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Kuliah Power
Weavings of the rainbow serpent (2024)
Acrylic paint, clay, raffia, ribbon. 30cm
My artwork draws inspiration from the natural world - earth, sky and water. I use vibrant shades of blue, red and green to evoke a presence in my contemporary abstract Aboriginal style. I wanted to express movement and depth through deliberate use of mark-making, incorporating traditional Aboriginal symbols. Hanging from each piece is a raffia weaving with the corresponding colour, grounding the paintings in their connection to their environment. The three circular paintings are particularly significant as they represent the Aboriginal Dreamtime story of the Rainbow Serpent, embodying the harmony between nature’s elements and spiritual law.
Kuliah Power (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Zahra Ali Raza
soul mate (2024)
Acrylic paint and oil on canvas
61.0 x 76.2cm
I explored the theme of love and soulmates in my artwork. I have been deeply captivated by the emotion of love and how it is perceived so differently in movies, media, and real life. True love and a soul mate are rare to find in modern society, where having a fling is normalised.
I have always imagined the connection I’d feel with my soul mate once I meet them. I wanted to depict this emotion in a romantic moment. Through exploring different forms of love in cinema, Korean love stories stood out the most, as every pure interaction between the lovers made your heart flutter. They follow a more traditional love story where the love gradually builds love between them. To me this is true love and what makes a soul mate. Islamically, we are taught that each individual is born in pairs and the love is nourished through compassion and mercy.
When creating this piece, I opted for a loose realism style with gold leaf around the canvas to create a scene of blurriness like a distant dream. Gustav Klimt is a key influence on the design, from the theme of romanticism to utilisation of gold leaf. The background is a depiction of the city night brighter in the centre and darkness surrounding the lovers, to symbolise how their love will overcome any troubles together. I used acrylic paint for the body of the subject and refined certain components with oil paints. I used oil paint to stick the gold leaf around the edges of the frame to build interest and symbolise the golden nature of finding your soul mate.
Through working with other artists in the Future Studios Program I was able to experience studio work environment and learn more about the day to day of the ACE. It was so interesting seeing different art departments come together and build new experiences and products for a diverse client selection. Furthermore, experimenting with different media and communicating with professional artists was interesting as got to see different approaches and thought processes of other artists to an assignment. This experience has given me insight into what type of artist I want to become and how I can work towards achieving this goal. I’m very grateful for the opportunity to be part of this exhibition among professional artists and like-minded peers.
Zahra Ali Raza (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental.
Jada Sharp
Dusk’s Divine Reflection (2024)
Acrylic paint, Impasto, Oil pastels, Metallic watercolours, Gold paint, Gemstones, Pearl beads, Lace.
Dimensions variable
Jada Sharp (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Dusk’s Divine Reflection revolves around the idea of the sun and moon goddess and the divinity of their connection - finding their individual beauty and submitting to the profound spiritual power possessed over them. My work lionises females by embracing how the vast differences they possess add to the beauty of femininity and being a woman.
I was inspired by the depth and complexity of Greek mythology and how the Gods and their powers move in harmony, contrast, and intertwine. Alectrona, the goddess of the sun, and Selene, the goddess of the moon juxtaposes each other with their solar and lunar elements. The warmth of the sun canvas emanates fire, emerging and pouring down from the woman reinstating the power she has over her environment. The cold silver blues and purples create an ethereal landscape, enticing the audience to want to explore the cosmos. The warm gemstones and gold accents complement the pure cold white and silver.
The types of media used creates an ethereal effect. The pearls stringing through the canvases and lace act as a final connection between the pieces and the women. The lace creates shadows against the pieces from the light, casting elegant handmade framework against the fluid canvases placed behind. It represents sensuality and innocence of women within a traditional practice first created in the 16th century. The golden frames encapsulating the two acts as the eternal, incorruptible powers of the divine seen in ancient literature and used in mediaeval artforms to hero worship their Gods.
The Future Studios program is one of the main driving forces convincing and allowing me to pursue my passion and dream of being an artist. Through this program, I was able to learn the possibilities of art and how to become a fulltime artist in modern society. The workshops allowed me to explore different media and concepts I wouldn’t have been able to otherwise. The people and mentors are so kind and welcoming of new young artists into their environment and are so willing to share their knowledge and experiences. It has opened my eyes to the possibility’s art possesses and the message it can portray. Thankyou to ACE and Jake for this amazing experience.
Jada Sharp (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Ella Southam
The Path Through Life (2024)
Acrylic Dot Painting 42cm ×52cm
I used the kangaroo as the central figure. The trails symbolise the journey through life, both past and future. I incorporated First Nations symbols such as the kangaroo tracks and the moon. It adds layers of cultural significance and connection to nature. Overall, the painting represents the struggle and beauty found in the complexities of life.
Ella Southam (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
April Strevens
Where is my Mind (2024)
Multimedium: Acrylic, watercolour, and oil paints, markers, pastels, mirrors and frames. 2m X 1m X 3m
Where is my Mind is an exploration into the layers of peer and self-perception that accumulate into who we are as individuals. Exploring themes of humanity, image, perception, and introspection, through the culmination of movements including surrealism, expressionism, and contemporary art, Where is my Mind aims to peel back the layers of the mind, analysing how we are perceived by others and ourselves; alongside exploring our desire to search for the deeper mysteries and answers hidden in the depths of our conscious. Thank you to ACE studios for this incredible opportunity, your support and generosity in providing such a program for young artists has provided invaluable insight and learning for me into the many aspects of the artistic world.
April Strevens (2024), Future Studios: 2024, installation view, Adelaide Contemporary Experimental. Photography by Sam Roberts.
Project Coordinator
First Nations Artist Mentor
Artists
Jake Yang
Crista Bradshaw
Mia Smith Ballard
Sia Clignon
Caylim Karpany-Drover
Jareth Newchurch
Kirene Newchurch
Kuliah Power
Sarah Rasheed
Zahra Ali Raza
Jada Sharp
Ella Southam
April Strevens
Designer Publisher Harriet Culbertson
Adelaide Contemporary Experimental
Published by Adelaide Contemporary Experimental to coincide with Future Studios: 2024, an exhibition held at ACE from 9 November – 14 December 2024.
ISBN 978-1-875751-45-7
The ACE Future Studios is a free program that provides fully-supported CBDbased studios to young South Australian artists for a one-week intensive period and mentoring across the year. This unique industry placement nurtures creativity and practical skills with the support of mentor artists and ACE staff and gives young artists an understanding of professional studio practice.
Future Studios is supported by Carclew, the Department for Education, and the City of Adelaide.
Future Studios: 2024 Weaving Workshop, Carly Tarkari Dodd, (2024), workshop documentation, Adelaide Contemporary Experimental. Photography by Lana Adams.
Located in Adelaide’s iconic Lion Arts Centre precinct, Adelaide Contemporary Experimental (ACE) is South Australia’s leading independent contemporary arts organisation, proudly supporting artists to imagine, develop and showcase art on Kaurna Yarta (Kaurna Country).
Established through the merger of the Contemporary Art Centre of South Australia (CACSA) and the Australian Experimental Art Foundation (AEAF) in 2017, ACE builds upon the legacy of over 100 years of leading experimental arts activity in South Australia.
Through exhibitions, studios, live programs, education and professional development opportunities, ACE is a space for artists and audiences to explore, reflect on and connect with contemporary and experimental art.
Lion Arts Centre
North Terrace (West End)
Kaurna Yarta Adelaide SA 5000
+61 8 8211 7505 ace.gallery
Opening Night: Yucky (2024), event documentation, Adelaide Contemporary Experimental. Photography by Thomas McCammon.
Sia Clignon
Jareth Newchurch
Kirene Newchurch
Kuliah Power
Sarah Rasheed
Zahra
Jada Sharp
Ella Southam
April Strevens