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I thought I heard a bird A SH LE Y ER IK SM O EN | FER NAN D O D O C A M PO | J OYCE HWAN G | M AD ELEIN E K ELLY | PAT SY H ELY | R AQUEL O R M ELL A

Craf t AC T Craf t + Design Centre March 22 – May 11 2019


Craft ACT: Craft + Design Centre is supported by the ACT Government, the Visual Arts and Craft Strategy – an initiative of the Australian State and Territory Governments, and the Australia Council for the Arts – the Australian Government’s arts funding and advisory body.

CRAFT ACT CRAFT + DESIGN CENTRE Tues–Fri 10am–5pm Saturdays 12–4pm Level 1, North Building, 180 London Circuit, Canberra ACT Australia +61 2 6262 9333 www.craftact.org.au Cover: Ashley Eriksmoen, Becoming Bird, 2019, salvaged wood furniture, acrylic and milk paints Photo: David Lindesay


I thought I heard a bird, installation view. Photo: 5Foot Photography


Ashley Eriksmoen, Edge Conditions #2, 2019, salvaged urban timber (elm) and salvaged wood furniture, $1,800. Photo: 5Foot Photography


Madeleine Kelly, Stealing other artist’s ideas (paintings for Mike), 2019, oil and acrylic on polyester, $3500. Image: couresty of the artist


Madeleine Kelly, Canberra birds: Cute craft for the painting archive, 2019, oil and acrylic on polyester, POA. Photo: 5Foot Photography


Ashley Eriksmoen, Becoming Bird, 2019, salvaged wood furniture, acrylic and milk paints, $1,800. Photo: David Lindesay


Patsy Hely, SEEN Series, 2007, purchased vase, under glaze colour. (left-right) Speckled Warbler (seen 23 January 2006, $1,200. Pink Robin (seen 28 April 2016), $1,200. Wattlebird (seen 28 April 2006), $800. Photos: Darren Le Roux


Joyce Hwang, Life Support v.2, 2019, 3D printed mode, NFS. Photo: 5foot Photography


Joyce Hwang, Life Support v.3, 2019, Drawing $POA. Photo: Craft ACT


Joyce Hwang, Life Support v.4, 2019, digital print, NFS. Photo: Craft ACT


Patsy Hely, HEARD series, Was that a Scarlet Robin?, Was that a White Throated Treecreeper? Was that a Fairy Wren?, Was that a Silvereye?, 2019, slipcast porcelain, under and overglaze ceramic decals, supplied timber wall shelf, $1,200 each. Photo: Craft ACT


Fernando do Campo, Call me by my adjective (January 3rd 2018, January 26th 2019), 2019, acrylic, pencil and glitter on board, POA, ($300 - $700). Photo: Craft ACT


Ashley Eriksmoen, Edge Conditions #1, 2019, salvaged wood furniture and salvaged textiles, $1,800. Photo: 5Foot Photography


Fernando do Campo, Call me by my adjective (January 3rd 2018, January 26th 2019) cont. 2019, Acrylic, pencil and glitter on board, POA, ($250 - $700). Photo: Craft ACT


Ashley Eriksmoen, Bird/burden, 2019, salvaged urban timber, salvaged wood furniture, $650. Photo: Craft ACT


I thought I heard a bird, installation view. Photo: 5Foot Photography


Artist Statements Fernando do Campo is an Argentinian and Australian artist, writer and curator currently based in Sydney. He launched the HSSH (House Sparrow Society for Humans) in December 2015.Fernando has received awards from the Regional Arts Fund, Arts Tasmania, the Ian Potter Cultural Trust and the Australia Council for the Arts as well as undertaking residencies at the Chelsea Westminster Hospital, London; Cite International des Arts, Paris and BMUKK, Austrian Ministry of Culture, Vienna. He is the 2014 General Sir John Monash Cultural Scholar, an award which saw him complete an MFA (Fine Arts) at Parsons School of Design, The New School in 2016. Ashley Jameson Eriksmoen studied fine woodworking at the College of the Redwoods before earning her M.F.A. in Furniture Design at Rhode Island School of Design. In 2006, she received the Norwegian Marshall Fund Grant to research traditional woodworking methods in Norway. Eriksmoen has taught design/woodworking at California College of the Arts, College of the Redwoods, Oregon College of Art & Craft, Anderson Ranch Arts Center, and Penland School of Craft. From 2002 until 2011, she designed and built sculptural furniture in her studio in Oakland, California. In 2012, Eriksmoen moved to Canberra, Australia to be Head of Furniture at the Australian National University School of Art and to continue her studio furniture practice Patsy Hely is a Canberra-based artist working in ceramics and with a concentration primarily on domestic forms; she has exhibited and taught widely since training at the National Art School in the late 70’s. Her work often incorporates other materials wood, glass and metal - and also, at times, found objects. For some time she has been involved in a project of recording life around where she lives or travels: birds seen, political life, local events and places and, more recently, people encountered. She has worked as an academic at the ANU School of Art (2002 - 2014) and at Southern Cross University (1988 - 2001) and completed a PhD, Ceramics and the Articulation of Place, at ANU in 2007. Written work has been published in a number of journals including The Journal of Australian Ceramics and Art Monthly and a book chapter Buildings and the performance of identity in ‘The Territories of Identity: architecture in the age of evolving globalisation’, (eds Soumyen Bandyopadhyay and Guillermo Garma Montiel), Routledge, 2013.


Artist Statements Joyce Hwang, AIA, NCARB, is the Director of Ants of the Prairie, an office of architectural practice and research that focuses on confronting contemporary ecological conditions through creative means, and an Associate Professor of Architecture at the University at Buffalo SUNY. She is a recipient of the Architectural League Emerging Voices Award (2014), the New York Foundation for the Arts (NYFA) Fellowship (2013), and the MacDowell Colony Fellowship (2016, 2011), among other awards. She is co-editor of Beyond Patronage: Reconsidering Models of Practice, published by Actar. Hwang received a M.Arch degree from Princeton University and a B.Arch degree from Cornell University. Madeleine Kelly is a German-born visual artist who arrived in Australia in 1980, and primarily works in painting. She majored in Fine Art at the Queensland College of Art, Griffith University, in 1999, and her practice-led PhD was conferred by the same institution in 2013. Her dissertation, entitled ‘Picturing Archaeologies: The Metaarchaic aesthetic’, examines the archaeological metaphor as an image-laden and mutable terrain. In particular, she engages – not without irony – with the descriptive capacity of philosopher Michel Foucault’s archaeology of knowledge. Her use of the archaeological metaphor focuses on the field of painting as composed of networks of aesthetic, topographic or historical positions. Raquel Ormella has a diverse practice that includes video, installation, drawings, and zines. Ormella is an artist working at the intersections of art and activism, investigating the means by which critical reflexivity in contemporary art encourages processes of self-examination regarding political consciousness and social action. Ormellaʼs practice is grounded in exploring the nature of the relationship between humans and the natural environment, with a particular focus on urban expansion and forest activism. In highlighting the connectedness between the two, Ormella attempts to show that our depictions of the natural world are not representations of true ʻwildernessʼ or a pure state, but rather are informed by human contact and reflective of human values. Ormella has built a practice covering a diverse range of activities such as video, paintings, installations, drawings, and zines. She is interested in exploring the relation of the audience to the artwork by using multiples. For example, she produced a work for the 2008 Sydney Biennale using electronic whiteboards that print the drawings made by the artist, so that the audience may take them home.


List of works

1 Ashley Eriksmoen, Edge Conditions #2, 2019, salvaged urban timber (elm) and salvaged wood furniture $1,800

2 Madeleine Kelly, Stealing other artist’s ideas (paintings for Mike), 2019, oil and acrylic on polyster, $POA

3 Madeleine Kelly, Canberra birds: Cute craft for the painting archive, 2019, oil and acrylic on polyester, NFS

7 Patsy Hely, SEEN series, Pink Robin (seen 12 July 2006), 2007, Purchased vase. under glaze colour, ceramic decals, $1,200

8 Joyce Hwang, Life Support v.2, 2019, 3D printed model, NFS

9 Joyce Hwang, Life Support v.3, 2019, Drawing, POA

4 Ashley Eriksmoen, Becoming Bird, 2019, salvaged wood furniture, acrylic and milk paints, $1,800

10 Joyce Hwang, Life Support v.4, 2019,Digital print, NFS

5 Patsy Hely, SEEN series, Wattlebird (seen 28 April 2006), 2007, Purchased vase. under glaze colour, ceramic decals, $800

11 Patsy Hely, HEARD series, Was that a Scarlet Robin?, 2019, slipcast porcelain, under and overglaze ceramic decals, supplied timber wall shelf, $1,200 each

6 Patsy Hely, SEEN series, Speckled Warbler (seen 23 Janurary 2006) , 2007, Purchased vase. under glaze colour, ceramic decals, $1,200

11 Patsy Hely, HEARD series, Was that a White Throated Treecreeper?, 2019, slipcast porcelain, under and overglaze ceramic decals, supplied timber wall shelf, $1,200 each


List of works

12 Patsy Hely, HEARD series, Was that a Fairy Wren?, 2019, slipcast porcelain, under and overglaze ceramic decals, supplied timber wall shelf, $1,200 each

13窶ケatsy Hely, HEARD series,Was that a Silvereye?, 2019, slipcast porcelain, under and overglaze ceramic decals, supplied timber wall shelf, $1,200 each

14窶ェernando do Campo, Call me by my adjective (January 3rd 2018, January 26th 2019), 2019, acrylic, pencil and glitter on board, POA ($300 - $700)

15 Ashley Eriksmoen, Edge Conditions #1, 2019, salvaged wood furniture, salvaged texiles, $1,800

16窶ェernando do Campo, Call me by my adjective (January 3rd 2018, January 26th 2019) cont. 2019, acrylic, pencil and glitter on board, POA ($250 - $700)

17窶アshley Eriksmoen,Bird/ burden, 2019, salvaged urban timber, salvaged wood furniture paint, $650


I thought I heard a bird, opening, March 21, Raquel Ormella, Madeleine Kelly, Ashley Eriksmoen, Fernando do Campo and Joyce Hwang. Photo: 5Foot Photography


Profile for craftact

Craft ACT: I thought I heard a bird  

21 March – 11 May 2019 Ashley Eriksmoen | Fernando do Campo | Joyce Hwang | Madeleine Kelly | Patsy Hely | Raquel Ormella I thought I hear...

Craft ACT: I thought I heard a bird  

21 March – 11 May 2019 Ashley Eriksmoen | Fernando do Campo | Joyce Hwang | Madeleine Kelly | Patsy Hely | Raquel Ormella I thought I hear...

Profile for craftact
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