Fremantle Arts Centre Print Award 2015 - Exhibition Catalogue

Works laid out for judging, Fremantle Town Hall, August 2015.

Photo: Tony Nathan

25 September– 15 November

fremantle arts centre print award 2015 Supported by Little Creatures Brewing

Fremantle Arts Centre is supported by the State Government through the Department Of Culture and the Arts

foreword

This year the Fremantle Arts Centre Print Award celebrates its 40th anniversary, and in that time has established itself as the country's premier print prize. When the award started, a few years after the establishment of FAC in 1973, it was another world; the pre-digital era. Over the arc of 40 years the FAC Print Award has maintained a commitment to traditional print forms and presented developments in digital and new print technologies, presented artists’ new explorations of what constitutes a print, and generally showcased the best of new Australian printmaking. It has been a changing, dynamic and vibrant journey.

Every year the Print Award winning work has been acquired by the City of Fremantle Art Collection, making it a significant, quality holding of Australian printmaking. This year’s Award exhibition is accompanied by Multiple Choices: 40 Years 40 Winners, an exhibition that presents this lively sweep of printmaking history.

As FAC pauses to mark this significant anniversary, we look forward to the Print Award prospering long into the future. Thank you to Little Creatures Brewing who has for several years been a wonderful partner in this journey and central to us maintaining the excellence and national recognition for this Award.

Little Creatures Brewing is the most enthusiastic and congenial partner any enterprise could hope for.

Fremantle Arts Centre, as part of the City of Fremantle, also acknowledges the ongoing generous support of the State Government through the Department of Culture and the Arts and Lotterywest. The State Government’s support has also been key to FAC’s longevity and success.

Jim Cathcart Director Fremantle Arts Centre

sponsor’s word

Since its inception in 2001 Little Creatures Brewing has had a long association with the creative arts industry. The FAC Print Award has been our longest and most proud association in that time. We are incredibly grateful to have been part of the journey with the Print Award and congratulate FAC on reaching the 40th anniversary of the Award. We look forward to continuing our partnership into the future.

Ash Cranston Marketing Manager Little Creatures Brewing

introduction

The Fremantle Arts Centre Print Award supported

by Little Creatures Brewing is Australia’s premier showcase of prints and artists’ books. Now in its 40th anniversary year, Australia’s richest and most prestigious print award continues to present the best works from established, emerging and crossdisciplinary artists.

Attracting 291 diverse entries from across Australia, the 58 works on display in this year’s exhibition were selected by industry professionals; Marian Crawford (VIC): Artist and Lecturer, Art, Design & Architecture, Monash University; Maurice O'Riordan (NT): Director, Northern Centre for Contemporary Art, Darwin; and Gemma Weston (WA): Curator, Cruthers Collection of Women's Art, Lawrence Wilson Art Gallery, The University of Western Australia.

After two rigorous judging rounds in July and August, the resulting exhibition is a display of ambitious, highly crafted and conceptually engaging works. This broad spectrum of finely executed prints and artists’ books pays homage to the enduring affinity we have with the printed image. This unique selection of contemporary practitioners continue to celebrate and challenge notions of print media, acknowledging a legacy of shifting trends identified throughout the long history of this significant award.

SIMONE JOHNSTON PRINT AWARD COORDINATOR FREMANTLE ARTS CENTRE

from left: judges maurice o'riordan, marian crawford and gemma weston, fremantle town hall, august 2015. photo: tony nathan

judges’ commentary

A consistent thread drew many of the works in the Award together. They were made with an awareness of the entire life cycle of the print, and its historical and contemporary resonance.

These prints had been considered as works of art constructed with a wonderful sensitivity to the materials and the rich range of printmaking methods, and as socially engaged artefacts made with a purposeful awareness of the agency of an artwork in the world. All of the works in this exhibition demonstrate each artist’s involvement with the material power and history of the print and printed matter in all their complexity and beauty, engagingly intertwined with the community of the art world and the society they are born from.

In asking these questions and engaging with this rich history of the print as social medium, many of these works presented a critique and questioning of the status of the artist, the art object, the institution of the museum and of the gallery, and the slippery status of these contingent objects that refuse to sit comfortably in any one category.

The exhibition presents us with the vitality of the print, a consciousness of the inherently social engaged nature of the print and its politics, the strong psychological interiority of many of the works, and an awareness of an artwork’s relationship to and context in the history of art.

We awarded the major prize to Victor De Sousa, Narelle Jubelin, Fiona MacDonald and Maria Madeira for their collaborative work Elastics / Borrocha / Elástico (2012 Timor-Leste Mobile Residency Archive).

The title, borrowed from the children’s game, speaks to the flexibility and resilience of the people of East Timor. Bright colours are printed in squares under and over a collection of images that foreground an engagement with the culture of Timor-Leste and with a lineage of political poster art with particular reference to the print folios published on Nelson Mandela by the ANC and those published in Cuba to commemorate the death of Che Guevara. In this folio of 10 prints, the Timorese tais is presented as a form of resistance, resilience and artistic vernacular that identifies this newly formed democracy, and as an enduring symbol of social change. Local communities and their heritage are woven together. Although photographic and immediate, this is not a documentation of a project – it is an expression of a cross-cultural collaborative engagement between Australian and Timor-Leste artists and communities of Timor-Leste. The images are printed in collaboration with Sydney’s Big Fag Press, in another nod to shared and communal creative process.

The second non-acquisitive award was given to Teelah George’s work Effect of Dose on Taste (New Phase).

A large degraded banner, face down, has been edged with a new hand-stitched border of cream canvas in George’s act of retrieval, to work against the ravages of ten year’s exposure to the elements on this printed object. There is a sense of embodiment, the banner’s instability and fragility poignantly reminding us of our own mortality. This found printed object questions legibility, conservation, fugitive ink, presence, and has become an exquisite, entrancing and ambivalent artefact. Its white-on-white references minimalist formalism, and George’s determination to destroy it after this exhibition also recalls UK artist Michael Landy’s performance piece Break Down (2001) where he destroyed every single thing he owned. It is like a

blanket or a cloth, while also a public proclamation of design and business. Embedded in the work is a performative gesture: the retrieval and then destruction of the work that challenges the creation of value around an art object. It has been plucked from a place where it had lost its value to be elevated and then returned to loss. This work explores the life cycle of the printed object and the temporal nature of a printed image.

We would also like to highly commend the following works.

Raymond Arnold Elsewhere World (10th State) This image of a constructed world is particular and local, recording the details of life in a regenerating and once degraded landscape. In the tradition of engraving and map-making, this elegant hard-ground etching conjures a place, Queenstown, and is printed as fragments on several pieces of paper. This landscape is not seamless, it is presented as a partial vision. How can the whole-ness of the natural world be drawn, this work asks? Arnold presents micro to macro in this reference to looking and representation, made with virtuosity and a mastery of etching processes and printing, in a profound and sincere commitment to place – Queenstown, where his studio is based.

Virginia Fraser and Elvis Richardson FEMMO™ Issue 1, 2, 3.

In the form of magazine covers, FEMMO references the history of printed matter. In its subject the work proclaims feminism and women’s work as artists and cultural activists, with great humour. Each of the three covers can function as (self) portraits featuring images of three artists – Destiny Deacon, Fraser and Richardson. FEMMO wittily references Australian art and society, and will enter, as the artists note, ‘the surface litter of Australian art history’. Employing the energies of social activism, art for social change and the history of the political poster, FEMMO made us laugh and squirm.

Emma Jolley Swim Swam Swum A suburban backyard is pictured, built with the flavour of mid-twentieth century design and the luxury of a large backyard swimming pool. This domestic site has now been dredged and deserted. The work is made from segments and held together with stencils of swampy yellows and over-ripe avocado green, in metaphorical overlays of histories onto a decomposing suburban landscape. This speaks to the ruin of an ideal, identifying the fault-lines and imperfections of the past.

Rebecca Shanahan From the series 'I Had But Couldn't Keep' Printed life-size, this is an image of a bookshelf stacked with worn and battered paperback books. In praise of libraries, this tonally rich monochrome photographic work records a trace of the hands that have leafed through these worn volumes. The paper it is printed on is similarly fragile, materially preserving and sharing an elusive moment in the face of our virtual, screen-based world.

We congratulate Fremantle Arts Centre on the 40th year of the Print Award, as it has proven to be an enduring platform that celebrates and interrogates the technical and conceptual potential and parameters of printmedia.

This invaluable contribution to the critical debates about the print informs how we understand and engage with the world via printed matter.

Marian Crawford (VIC) Artist, Lecturer, Art, Design & Architecture, Monash University Maurice O'Riordan (NT) Director, Northern Centre for Contemporary Art, Darwin Gemma Weston (WA) Curator, Cruthers Collection of Women's Art, Lawrence Wilson Art Gallery, The University of Western Australia

award winners First Prize $16,000 Work acquired for the City of Fremantle Art Collection Victor De Sousa (TL), Narelle Jubelin (nsw), Fiona MacDonald (nsw) & Maria Madeira (TL) Elastic / Borracha / Elástico (2012 Timor-Leste Mobile Residency Archive), 2014

Second Prize $6,000 Teelah George (wa) Effect of Dose on Taste (New Phase), 2015

Highly Commended Raymond Arnold (tas) Virginia Fraser & Elvis Richardson (VIC) Emma Jolley (wa) Rebecca Shanahan (nsw)

Victor De Sousa, Narelle Jubelin, Fiona MacDonald and Maria Madeira met in 2012 when Jubelin and MacDonald travelled to Timor-Leste to Maria Madeira, Victor De Sousa, Fiona MacDonald, Narelle Jubelin: Elastics undertake a mobile inauguration in Darwin after members of Larrakia community welcome. residency facilitated by Photo: Victor De Sousa the late curator Jennifer Phipps. Each accomplished visual artists, the group quickly realised the potential for cultural exchange and their inclusive working process saw them create an open archive of photographs, videos and records of informal meetings with weavers, builders and school children as they travelled to 11 of Timor-Leste’s 13 districts. Keen to produce a tangible expression of their experiences and maintain a connection after the residency’s conclusion, the collaborative print series Elastics / Borracha / Elástico was born, bearing witness to the artists’ views of Timor-Leste’s reconstruction and paying tribute to the inspirational work of weavers and traditional builders whose resilient cultural upkeep subversively aided the country’s 40-year long struggle for liberation.

Teelah George employs archives and collections as a point of departure and questioning within her practice, looking at how peripheral materials and ideas inform a broader narrative.

Selected recent projects include; Face Vase and Rag Painting (Bus Projects, Photo: Thomas Rowe VIC), Getting Things Done (Fontanelle Gallery, Adelaide) all 2015. Win win (Hugo Michell Gallery, Adelaide), Use to stop doors from rattling in frames (Venn Gallery,Perth), Will to Keep (Archive space / 107 Projects, Sydney). Teelah was selected as overall acquisitive winner of the City of Joondalup Invitation Art Award 2014, a finalist in the Biennial Guirguis New Art Prize (GNAP) 2015 and is the recipient of the 2015 Artsource Artspace residency. She has work in the Art Gallery of Western Australia Collection, City of Joondalup Collection, Cruthers Collection of Women’s Art and private collections in Australia and Northern Ireland.

Victor De Sousa (TL), Narelle Jubelin (NSW), Fiona MacDonald (NSW) & Maria Madeira (TL) Elastic / Borracha / Elรกstico (2012 Timor-Leste Mobile Residency Archive), 2014 offset lithograph, 135 ร 275 cm Printer: Artists and Big Fag Press photo: pat Armstrong first prize

Teelah George (WA) Effect of Dose on Taste (New Phase), 2015 found vinyl banner, canvas, thread, photographic documentation 197 × 400 × 4 cm photo: Bo Wong second prize

list of works

Jess Boyce (WA) First Steps (small and giant), 2014 video exposed prints on photographic fibre based paper 50 × 347 cm Lyle Branson (WA) Measurement of Time (one), 2015 inkjet print on fine art photorag 50 × 75 cm Printer: Tony Nathan

Alison Alder (NSW) Death of a Broadsheet, 2015 screen print 100 × 1800 cm Raymond Arnold (TAS) Elsewhere World (10th State), 2015 etching 80 × 330 cm Nathan Beard (WA) Anemone, 2014 digital prints on synthetic silk, wood 90 × 135 × 30 cm Printer: Premium Pops Emma Beer (ACT) nothing::nothing, 2014 wood block mono print on 300gsm stonehenge 119 × 420 cm Tom Blake (WA) Digital Apophenia, 2015 monoprint on paper 24 × 22.5 cm

Deidre Brollo (NSW) Field Kit for a Narrow Escape (souvenirs for the unwitting), 2015 artist's books in wooden case (archival pigment prints, photopolymer intaglio and chine colle, snowglobe and found objects) 11 × 44 × 39 cm Leah Bullen (NSW) Places you'd rather be, 2015 gum monotype 37 × 93 cm Jon Campbell (VIC) Up Shit Creek, 2014 lithograph 58 × 76 cm Printer: Adrian Kellett Jillian Ciemitis (WA) Aperto, 2014 screen print 45 × 60 cm Shay Colley (WA) Figure 4: Umami Cult, 2015 digital print on woven rug 152.4 × 127 cm (each) Printer: CafePress

Annette Cook (VIC) Tufts collected, 2014 linocut and stencil 54 × 532 cm Louise Daniels (NT) Going Hunting, 2015 etching and aquatint on paper 25 × 29 cm Printer: Cicada Press Chris De Rosa (SA) Sea Tree Rosso, 2015 digital inkjet, etching, pigment stains, reflective spray 175 × 135 cm Victor De Sousa (TL), Narelle Jubelin (NSW), Fiona MacDonald (NSW) & Maria Madeira (TL) Elastic / Borracha / Elástico (2012 Timor-Leste Mobile Residency Archive), 2014 offset lithograph 135 × 275 cm Printer: Artists and Big Fag Press Nathaniel Dolbel (WA) To the Extent of My Ability: Freehand Line Drawing Without Support, 2013 relief etching on Arches 88 56 × 76 cm David Egan (VIC) Asparation Frieze, 2015 broccolini and synthetic polymer paint on walls 12 cm high band printed 5 cm below ceiling line of space, spanning the space's perimeter

David Frank (SA) Police Training, 2015 etching and aquatint on Hahnamule paper 33 × 45 cm Printer: Michael Kempson Virginia Fraser & Elvis Richardson (VIC) FEMMO™ Issue 1, 2, 3., 2014 screen print on fabric 120 × 270 cm Printer: Stewart Russell Teelah George (WA) Effect of Dose on Taste (New Phase), 2015 found vinyl banner, canvas, thread, photographic documentation 197 × 400 × 4 cm Kendal Heyes (NSW) The Fold (Triptych), 2014 archival inkjet print on paper 104 × 234 cm

Joanna Kambourian (NSW) Im Anune Hayastan e (My Name is Armenia), 2015 digital archival print 91 × 71 cm

Laurie Nona (QLD) Sesere, 2015 linocut print on paper 80 × 120 cm Printer: Badu Island Art Centre

Raelene Kerinauia (NT) Pwoja, 2014 etching 39 × 30 cm Printer: Australian Print Workshop

Kathryn Orton (NSW) Lennie's from Tambaroora Road, Hill End, 2014 drypoint 39 × 100 cm

Nick Mahony (WA) also something about resolution ..., 2015 3D printed ABS plastic relief print – Charbonnel ink on white 270gsm BFK Rives 100% cotton paper 85 × 75 cm

Janet Parker-Smith (NSW) A Marvellous Future, 2015 screen print on felt with appliqué 110 × 80 × 5 cm

Neil Malone (VIC) if it rains no1, 2015 wood engraving 100 × 142 cm Clyde McGill (WA) Coming Events, 2015 letterpress (with one hand stamp) 27.5 × 21.5 cm

Deanna Hitti (VIC) Assimilated Museum, 2015 screen print on BFK Rives 210gsm and NiJin 90gsm gold paper, codex handbound by the artist with a slip case 42 × 33 × 4 cm Printer: Guanlan Printmaking Base, China

Gordon Monroe (VIC) The Limits To Growth, 2014 digital print 80 × 135 cm Printer: The Colour Factory

Emma Jolley (WA) Swim Swam Swum, 2015 stencil & photographic silkscreen on Somerset 80 × 107 cm

Elizabeth Newman (VIC) Australia, 2015 silkscreen 67 × 49 cm Printer: Stewart Russell

Aaron Prior (WA) Estimated ink levels: Gradient background 16, 2015 artist's book 30 × 21 × 1 cm Andrea Przygonski (SA) Goldberg 2, 2015 screen print from handcut stencils 56 × 38 cm Peter Ra (VIC) Freud and Jung. Dream Kings of the Unconscious, 2014 digital giclee on paper 61 × 61 cm Taryn Raffan (QLD) Memory orbs (minerals), 2015 screen print on black Somerset paper 29 × 162 cm

Diego Ramirez (VIC) sPICY, 2014 digital print on cotton paper 59 × 84 cm Printer: ImageScience

Dolly Snell (WA) Kurtal, 2014 colour etching 19.5 × 25 cm Printer: Basil Hall

Rammey Ramsey (WA) Warlawoon Country #4, 2014 etching 79 × 55 cm Printer: Basil Hall Editions

Valerie Sparks (VIC) Le Vol 2, 2014 pigment inkjet print on paper 100 × 270 cm Printer: JCP

Brian Robinson (QLD) A Chalice of fruit rose from the waves beckoning them to kaikia, 2013 linocut on paper 80 × 111 cm

Sandra Starkey Simon (SA) Sacred Cow and the Sad Brother, 2013 monotype 20 × 26 cm

Alessandra Rossi (WA) you are crossing the line, 2015 3D printed figures 12.5 × 55 × 120 cm Printer: Neoveo Rachel Salmon-Lomas (WA) Riley (moments in the life of), 2015 indigo press printed book of drypoint images 20.5 × 12.5 × 1.5 cm Printer: Bambra Press and Artist Rebecca Shanahan (NSW) From the series 'I Had But Couldn't Keep', 2014 pigment print on washi paper 130 × 90 cm Printer: Vasili Vasilidis / Deep House Print Studio Senye Shen (VIC) Trace, 2015 linocut 45 × 180 cm

Colin Story (WA) for those caught in flight, Northcliffe 2015, 2015 inkjet on textured cotton rag paper 270 × 230 × 20 cm Printer: Printline Jessica Tan (WA) breathing room/no room 2 breathe (extended bedroom version), 2015 drypoint etching, mixed media on velata arvorio paper 62 × 44 cm The Usual Collective (Safam A-Dir, Benjamin Ori, Georgette Gross) (NSW) Political Art, 2015 acrylic silkscreen and inkjet street poster 84 × 60 cm Printer: Throwdown Press Elke Varga (VIC) Grey Paint, 2015 artist's book 15 × 21 × 0.5 cm

Lev Vykopal (WA) From the birth of English poetry to the Bomb is a thousand years and 44 miles (as the crow flies), diptych, 2015 3D prints based on photogrammetric data taken at site 43 × 43 × 3 cm Stephen Wickham (VIC) 58. "All Watched Over by Machines of Loving Grace; Kazimir Malevich, Richard Brautigan and me.", 2014 lambda digital print 105 × 75 cm Printer: Prisim Imaging Steve Wilson (SA) Digital Age (MDF), 2015 MDF woodcut print 60 × 40 cm Andrea Wood (WA) Artist book, 2015 ink on paper in archive box 22 × 16 × 3 cm Tiger Yaltangki (SA) Liru Tjukula (Snakes and Rockholes), 2015 woodblock with chin colle and powdered pigment 39 × 29.5 cm Printer: Basil Hall Hansdieter Zeh (WA) any old time, 2015 digital print on cotton rag 37 × 50 cm

Raymond Arnold (TAS) Elsewhere World (10th State), 2015 etching 80 Ă— 330 cm photo: peter whyte Highly commended

Emma Jolley (WA) Swim Swam Swum, 2015 stencil & photographic silkscreen on Somerset 80 Ă— 107 cm Photo: eddie resera Highly commended

Rebecca Shanahan (NSW) From the series 'I Had But Couldn't Keep', 2014 pigment print on washi paper 130 Ă— 90 cm Printer: Vasili Vasilidis / Deep House Print Studio Highly commended

Virginia Fraser & Elvis Richardson (VIC) FEMMO™ Issue 1, 2, 3., 2014 screen print on fabric 120 × 270 cm Printer: Stewart Russell Highly commended

Nathan Beard (WA) Anemone, 2014 digital prints on synthetic silk, wood 90 Ă— 135 Ă— 30 cm Printer: Premium Pops

Chris De Rosa (SA) Sea Tree Rosso, 2015 digital inkjet, etching, pigment stains, reflective spray 175 Ă— 135 cm

Janet Parker-Smith (NSW) A Marvellous Future, 2015 screen print on felt with appliqué 110 × 80 × 5 cm

Deanna Hitti (VIC) Assimilated Museum, 2015 screenprint on BFK Rives 210gsm and NiJin 90gsm gold paper, codex handbound by the artist with a slip case, 42 × 33 × 4 cm Printer: Guanlan Printmaking Base, China

Alessandra Rossi (WA) you are crossing the line, 2015 3D printed figures 12.5 Ă— 55 Ă— 120 cm Printer: Neoveo

Elizabeth Newman (VIC) Australia, 2015 silkscreen 67 Ă— 49 cm Printer: Stewart Russell photo: Christian Capurro

Brian Robinson (QLD) A Chalice of fruit rose from the waves beckoning them to kaikia, 2013 linocut on paper 80 Ă— 111 cm

Aaron Prior (WA) Estimated ink levels: Gradient background 16 (detail), 2015 artist's book 30 Ă— 21 Ă— 1 cm

Valerie Sparks (VIC) Le Vol 2, 2014 pigment Inkjet print on paper 100 Ă— 270 cm Printer: JCP

Peter Ra (VIC) Freud and Jung. Dream Kings of the Unconscious, 2014 digital giclee on paper 61 Ă— 61 cm

Tiger Yaltangki (SA) Liru Tjukula (Snakes and Rockholes), 2015 woodblock with chin colle and powdered pigment 39 Ă— 29.5 cm Printer: Basil Hall

Rachel Salmon-Lomas (WA) Riley (moments in the life of), 2015 indigo press printed book of drypoint images 20.5 Ă— 12.5 Ă— 1.5 cm Printer: Bambra Press and Artist Photo: eddie Resera

Andrea Wood (WA) Artist book (detail), 2015 ink on paper in archive box 22 Ă— 16 Ă— 3 cm

Diego Ramirez (VIC) sPICY, 2014 digital print on cotton paper 59 Ă— 84 cm Printer: ImageScience

acknowledgements

The 2015 Fremantle Arts Centre Print Award, supported by Little Creatures Brewing was led by FAC Print Award Coordinator, Simone Johnston, with support from the wonderful staff at Fremantle Arts Centre. Special thanks to: Jim Cathcart, Erin Coates, Sheridan Coleman, Tom Freeman, Deborah Haslam, Sam Leung, André Lipscombe, Julia Remmert, Ric Spencer and Andrea Woods.

Special thanks to Little Creatures Brewing, for their long-standing partnership and support of this significant national award.

Sincere thank you to Marian Crawford, Maurice O’Riordan, and Gemma Weston for the consideration and expertise they each brought to this year’s judging panel. It has been an honour working with each of you.

Thanks also to Ash Pederick for the 2015 Print Award brand design and Isabel Krüger for the catalogue design.

Each year a group of third year Bachelor of Art (Fine Art) students from Curtin University of Technology, undertake their Professional Practicum at Fremantle Arts Centre, working on the Print Award in it entirety. FAC would like to thank the following students who have significantly contributed to the preparation and delivery of this year’s award: Taylor Denning, Valleri Foster, Wendy Golden, Brent Harrison, Callum Hope, Natalie Keller, Lisa Liebetrau, Bina Liona Butcher-Monsees, Jacob Wallace.

FAC Staff Director Jim Cathcart General Manager Marcus Dickson Curator Dr Ric Spencer Exhibitions Coordinator Erin Coates FAC Print Award Coordinator Simone Johnston Gallery Officers Simone Johnston, Tom Freeman, Julia Remmert City of Fremantle Art Collection Curator André Lipscombe Moores Building Exhibitions Manager Richie Kuhaupt Residencies and Studios Coordinator Bevan Honey Events Coordinator Andrew Clark Learning Coordinator Deborah Haslam Communications Manager Andrea Woods

from left: judges marian crawford, gemma weston and maurice o'riordan, Fremantle town hall, august 2015. photo: tony nathan

Communications Assistant Sam Leung Graphic Designer Ash Pederick Finance Office Christine Lofthouse, Julia Remmert FOUND Manager Gabrielle Howlett Retail Assistants Rose Megirian, Pia Chomley, Joanna Brown, Jenny Dawson, Kate Jones Reception Caroline Brook, Sheridan Coleman, Gwen Edwards, Silvia Ferolla Events Assistant Todd Pickett Grounds & Technician George Gregson Facility & Program Assistant Aaron Lyons Install Staff Neil Aldum, Jacobus Capone, Janet Carter, Erin Coates, Tom Freeman, Simone Johnston, Annie McCloughlin, Holly O’Meehan, Julia Remmert, Andrew Varano

Fremantle Arts Centre 1 Finnerty Street Fremantle Western Australia + 61 8 9432 9555 10am–5pm 7 days fac.org.au

Fremantle Arts Centre is supported by the State Government through the Department Of Culture and the Arts