Conversations Inglewood Arts Hub Art Exhibition Catalogue 2023, Artworks of Western Australian Artis

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FOREWORD

Inglewood on Beaufort is pleased to announce an exciting centre for creativity and connection has landed in Inglewood. Stemming from the efforts of our committee and a group of dedicated local artists, the Inglewood Arts Hub has been curated as a place for artists and the community to come together and create.

The Hub aims to strengthen connections and sense of belonging within our local community of artists. It provides a welcoming environment for artists to practice, present their works, share their knowledge and meet each other through regular and informal get togethers.

We encourage the local community to embrace the Hub and make it their own, too. We hope to see children, adults, seniors, people with disabilities and people from culturally diverse backgrounds experiencing the wide range of activities taking place at the Hub. In time, we see collaborative art projects bringing artists together to co-create alongside members of the community.

It's been an amazing journey to work alongside such a talented group of people to make this idea a reality. We look forward to seeing all the bold and exciting things that will be created in the Hub and how it brings out more of Inglewood's creative spirit in years to come.

CURATORIAL STATEMEMNT

The exhibition "Conversations" emerged from the "Call and Response" project initiated by a group of painters, printmakers, textile artists, sculptors, illustrators and other artists involved in establishing the Inglewood Arts Hub. As part of the project, Hub members created artworks of any size and medium, responding to each other's works. The first stage of the project involved responding to historical photographs provided by Louise Wells as part of her Suburban Secrets - Art Trail & History Walk project, which were first viewed by Hub members on February 27, 2023.

The artists involved in the project were Graham Hay, Irvine Hay, Iwona Van Niekerk, Jillian Ciemitis, Kamila Waleszkiewicz, Kelly Ha, Louise Wells, Naomi Antenucci, Peter Campagna, Peter Ciemitis, and Sue Hibbert.

The artworks we created present our conversations with Inglewood history and the art crafts of each artist. The exhibition means to engage and inspire members of the Inglewood community, as well as artists and individuals who are interested in the arts and culture scene in Perth, Western Australia. We intend to encourage critical thinking about the community and its history and to prompt reflection on personal connections to the place. Through the diverse range of artworks on display, we hope to facilitate creative conversations and collaboration among Perth’s artists and audience members alike.

As artists, we found great joy in this project. It challenged and inspired us, pushing us to explore new forms of art and expand our creative expression. The artworks featured in this catalogue will be displayed at an exhibition during the official launch event of the Hub on April 24, 2023.

On behalf of all the artists involved in the project, I respectfully acknowledge the Nyoongar Nation as the Traditional Custodians of the Country on which we live. We pay our respects to all Aboriginal and Torres Strait Islander Elders past, present, and emerging, and their ancient wisdom and strong connection to land and community.

Kamila Waleszkiewicz Artist

A graduate from UWA, CUT and ECU, Graham Hay participated in 170 exhibitions in a dozen countries, including seven biennales. He received 20 awards and grants, and is in public collections in seven countries (including AGWA). Hay has written 30 articles for ceramic journals in six countries, and led workshops, national symposia and conferences across 14 countries. In addition to mentoring ECU, CUT and UWA students via their alumni, he runs pottery and sculpture classes in Farmer Street Studio, North Perth.

Irvine has been creating and exhibiting three dimensional art in various forms for over 40 years. In more recent years he has been creating sculptures from recycled materials, which blend elements of traditional sculpture, dieselpunk/steampunk and his own unique brand of humour.

Irvine Hay

instagram: irv_sculptures

irvsculpture@gmail.com

Photo: Kelly Ha

instagram: studio_van_niekerk

www.studiovanniekerk.com.au

Iwona is a self-taught painter whose artistic journey began in Poland, where she was born and raised. Growing up surrounded by the beauty of rural areas and the rich history of her country continues to influence and inspire her today. When she moved to Copenhagen in her twenties, she was impressed by the boldness and simplicity of Scandinavian design, which had a profound impact on her work. Having lived in London for over a decade, Iwona had the opportunity to immerse herself in the dynamic art scene and learn from incredibly talented artists. It was here that she began to develop her own unique style, combining elements of cubism, surrealism, and illusionism to create works that are both striking and thought-provoking. Throughout her artistic journey, Iwona has had the opportunity to practice painting with other talented artists in Perth and learn from exceptional mentors who played a key role in her development by offering support and advice as she explored new techniques and ideas. Recently, Iwona was named a finalist in The City of Rockingham Art Prize, an esteemed award that recognises exceptional artistic achievement.

Photo: Lily Van Niekerk

instagram: jillianciemitis

www.ciemitis.com

Jillian Ciemitis is a West Australian based artist whose work focuses on photography and printmaking, examining issues of identity and place. Holding a Bachelor of Contemporary Arts, in Visual Arts and Photomedia (Edith Cowan University), Jillian has won the WA Print Media Award in 2012, and has twice been a finalist in the Fremantle Art Centre Print Award.She has always been interested in the observational forms of art. Naturally, photography and drawing immediately lend themselves to documenting the observed world, which has evolved to encompass printmaking.Her interest in photography also extends in its application to other media, sometimes using photography as an art form, whilst other times as a source material for printmaking projects and public art in graphic concrete.Jillian has exhibited internationally including a collateral exhibition, part of the 2017 Venice Biennale, the 18th Asian Biennale in Bangladesh, Tokyo Metropolitan Museum of Art and G20 Summit International Art Exhibition in Hangzhou, China.Her work is included in various permanent collections both Australia and overseas, from Edith Cowan University’s Art Collection, Perth WA, to Qianjang International Art Museum, China and various others.

Jillian Ciemitis Photo: Peter Ciemitis

Kamila Waleszkiewicz

instagram: kamila_wn_art

linkedin: kamilawaleszkiewicz

amazon.com: Kamila-Waleszkiewicz-Nilsen

Kamila Waleszkiewicz an author, illustrator, visual artist, and independent publisher. An author of books for children and young people since January 2000. Some of her published works (in Polish language) include "Bajki dla dyslektyków," "Niedźwiadek Kletnuś," "Bajka dla opto-dyslektyków," "Dziewczyńskie bajki na dobraoc," "Nie pytaj o Polskę”, and (bilingual fable for children Polish- English) “The Little Man who lived in the tangerine”, as well as (in English language) “Princess Mermaid math activity & coloring book. Mathematics with confidence”. Kamila worked also as a teacher of the Polish language at the Polish School WA Inc, Perth WA, since March 2018. In her “first” life (in Poland) Kamila has been a chairman of the board at Medioteka Sp. z o.o. and the editor-in-chief of the portal www.miastodzieci.pl, where she worked as a journalist. Founder of two cultural foundations “Fundacja Akademia Młodych”, and “Fundacja Mi Mamo”. An engaged member of the “Photographic Society” based in Ladek Zdroj, Poland.

Photo: Rudolf Nilsen

instagram: louisewellsartist

facebook.com: LouiseWells

www.louisewells.com

Louise Wells is an artist living in Inglewood, Western Australia. Looking at the lost beauty in the ordinary is a major theme she explores, and this has led to a focus on working with recycled materials, mostly textiles. Her work is inspired by domestic life, family stories, observations on current events, and the environmental impacts of textile production. Over the past few years, the main focus of Louise’s work has been in her local community, taking inspiration from her observations of the small often overlooked and often delightful elements on her daily walk around her suburb. Louise has exhibited in numerous group and jury selected exhibitions. She is a finalist in Bunbury Biennale 2023, International Fibre Art Australia 2023, Australia Wide 8 2022, twentyFIVE+ 2022, York Botanic Art Prize 2021, Collie Art Prize (CAP) and Australian Textile Award 2020. In 2019 her work was selected for Cultura Diffusa, Como Italy and Fiber Arts IX, California USA. She is a five times finalist in Wearable Art Mandurah, winning the Avant Garde category in 2017. Recent solo exhibitions include Of Our Time - Ordinary Lives 2018, Suburban Secrets 2021. Louise’s work is held in public and private collections.

Photo: Josh Wells

Naomi Antenucci

Instagram: naomi_antenucci_print

www.naomiantenucci.com

Naomi Antenucci is an award-winning Western Australian printmaker, photographer and artist. She completed a Bachelor of Fine Arts, majoring in printmaking, in 1994 at Curtin University and completed a Graduate Certificate in Urban Design at Curtin University in 2004. Naomi was the winner of the $20,000 Black Swan Heritage Prize in 2012. She has thrice been selected as a finalist in the Black Swan Heritage Prize (2014, 2013, 2012) and the Fremantle Print Award (2000, 1995, 1993). Naomi was also the winner of the GST Category, GSTA Urban Landscape Awards for photography in 2016. She is a published children’s author and illustrator, and was a Western Australian Industry and Export Award finalist in 2009. She has had representation in both national and international exhibitions with numerous other awards and commendations.

Photo: Antenucci

Peter has a European background, his family settling in Inglewood in the late 50s with his father (Cesare) and his Grandfather (Nono) opening a shoe repair shop on Beaufort Street with the family residing in 7th Avenue. Peter grew up drawing his favourite footy stars and always had a vivid imagination, often was in trouble being told off for not not doing his chores (feeding and watering the chooks and collecting eggs) and not paying attention as his Mum in her later years kept reminding him that he always looked as if he was in dream lands. Peter has completed a degree at Edith Cowan university in 2008, and currently he is an artist in residence in Inglewood Arts Hub.

Exhibitions: Edith Cowan University, 2008. Spectrum Art Space, 2007, Perth WA. Exhibition at Mia Cafe 2009, Perth WA. Exhibited A4 art gallery, Melbourne 2009. Exhibited, Ellis House, Perth WA 2011. xhibited at Moore’s ART Gallery, Fremantle, 2018. Exhibited and sold work at various Shire Art Awards, Western Australia. Run and manage and reach, Artitix Studios, Wembley 2014 to 2020. Recently sold artwork at Mt Lawley High School art auction.

Peter Campagna

instagram: peter.campagna.54

Photo: Jillian Ciemities Photo: Kelly Ha Photo: Kelly Ha

instagram: kelha.art

www.kellyha.com

Kelly Ha is an illustrator from Perth, WA. She is fascinated by the natural and urban world, and her art explores how they interact. She completed a Bachelor of Arts (Illustration and Photography) from Curtin University in 2012. After a few years of digital work, she returned to traditional mediums, mainly watercolour, gouache and oils. Inspired heavily by her interest in animation and graphic art, she approaches her work by incorporating knowledge and techniques from both digital and traditional spaces. Her main focus for the last few years has been graphic work on the Diatom Flora of Australia series with Dr Jacob John. During her residency in Inglewood Arts Hub, Kelly aims to produce a series of paintings that explore the streets of Inglewood. She will host community plein air sessions and provide an opportunity for members of the public to engage with art and discover the beauty of their surroundings in a new light.

Photo: Jillian Ciemities Photo: Jillian Ciemitis

The 'Suburban Secrets - Art Trail & History Walk'

The 'Suburban Secrets - Art Trail & History Walk' project resulted in the creation of textile-based artworks, including Pub to Pub – A Street Scape, Survey Circa 1935, Ribbon Grants – Original Land, and the display of old Inglewood photographs in shop and office windows along 803 -1004 Beaufort St in Inglewood, Western Australia. You can still embark on this self-guided walk by accessing the map and floor sheet with images on Louise Wells' website (louisewells.com) and compare the captivating old photographs of Inglewood to its current landscape.

During the Call and Response project, many of us artists found inspiration from both the 1939 photograph and the story behind The Clock Tower. You can find the tower represented in a few of the artworks shown during the exhibition.

The history of The Clock Tower told by Louise Wells: The Piccadilly Picture Gardens built in 1926 by Thomas James Snooks (1890–1958) a local picture-show man and builder-developer from the 1910s to the 1940s. It was one of the first outdoor film-showing venues in the inner north-eastern suburbs. It was built to resemble a castle, clad in appropriately painted corrugated iron. The gardens were damaged by a fire on 5 January 1928.

The Civic Theatre (currently known as The Clock Tower) and Gardens, opened on Saturday 28th March 1936 comprising of the indoor theatre, the rebuilt open-air picture garden, two shops with dwellings, three lock-up shops and a suite of offices with separate entrance. The Civic Theatre had 932 seats, and Gardens 1,004 seats. Newspaper Article – source Trove Artistic and Comfortable Entering from Beaufort-street, one is impressed by the spaciousness of the lounge, with walls of texture finish in bronze and gold. To the right patrons pass to the picture garden; on the left, a wide sweeping staircase leads to the circle of the theatre”. Owing to the demise of suburban cinemas in the face of television they were closed on 1 June 1962, the closing films “Blue Hawaii” and “Tokyo After Dark”.

In 1969 the building became Max Kay’s Civic Theatre Restaurant until 1987. By the 1990s there was a motorbike shop in the theatre and a fancy dress hire shop on the first floor. The Piccadilly Gardens were demolished around 1962 retaining the clock tower. The heritage building was redeveloped (2006–2008) as residential apartments.

Kamila Waleszkiewicz after Louise Wells

The first meeting Response to Louise Wells „Suburban Secrets - Art Trail & History Walk”

Photos: Kamila Waleszkiewicz

Graham Hay

Good bones

Ceramic earthenware and terracotta paper clay, 60 x 60 x 40 cm (approx.)

Based upon Louise Well's historical photos of the trams that ran through Inglewood (1923-1958), I began by making paper clay tram wheels and researching other images. The loose ideas of “good bones” were also rattling around my mind.

Photo: Jillian Ciemities

in response to Graham Hay's artwork

Jean’s New Satchel

Recycled woolen blanket, embroidery thread

32cm (H) x 26cm (W) x 7cm (D)

For over 100 years carts, cars, bicycles, buses and trams have travelled up and down Beaufort Street. My dear 94-year-old neighbour Jean told me on several occasions of her adventures on the Inglewood trams, travelling to work in the city and as a child going to school. This one is my favourite: “My mother used to give me a penny each day, but that was only enough for a tram to school. On the way home, I would throw my bag to a kid on the tram and run alongside it. It used to stop often so you could catch up. When the tram arrived at the Civic Theatre at Dundas Road stop, I would yell out to them to throw down my bag, and then walk home down the road.” Graham Hays’ clay “Wheels” was the initial inspiration for this work. Using hand stitch on a vintage woollen blanket, I have interpreted modern tyre mark patterns following the crossroads seen throughout the suburb and created a new bag for Jean’s travels far beyond Inglewood, and Australia.

Photos: Jillian Ciemities

Irvine Hay

Beaufort Clock Tower

Predominantly recycled brass, steel, stone, and electronic components

66 cm (H) x 22 cm (W) x 22 cm (D)

Louise Wells' Suburban Secrets – Art Trail & History Walk project featured a photo of the Clock Tower that I appreciated for its aged patina evident in the architecture. I wanted to capture that old-world building style, but also add elements of my own brand of humour. Incorporating a quirky ‘cuckoo clock’ into the clock tower design was my way of achieving both. Wrapping the piece in recycled brass and copper elements further developed the aged theme, adding a steampunk/art-deco style. The mechanical and electronic components of this piece were incredibly challenging and time-consuming to achieve successfully.

Photos: Jillian Ciemities

Kamila Waleszkiewicz in response to Irvine Hay's artwork

Civic Theatre 2023

Cardboard box, yarn, fabric, acrylic paint, paper, B&W copies of photographs 36 cm (H) x 24 cm (W) x13 cn (D)

Irvine's clock tower made us all smile and feel like children again. Peter Campagna told us that when he was a kid he was going to The Clock Tower with his family because it used to be a theatre there (The Civic Theatre). It made me reflect on how our history and the buildings that represent it can transport us to old times if we only are aware of what the old times looked like. And also that as artists we are like actors on a stage, playing our roles in the present times, taking our audience to the imaginary, reflective, sometimes mysterious realms. I decided to put us on the theatre stage to bring back to life

The Civic Theatre and to symbolically give voice to the stories of our present time. From left, Jillian and Peter Ciemitis, Irvine Hay, Peter Campagna, and me. In the background, the acrylic gel print depicts the Clock Tower and Beaufort Street from 1939, based on an old photograph shared by Louise Wells in her project "Suburban Secrets - Art Trail & History Walk." In this installation, I used two photographs by Iwona Van Niekerk and two of my own.

Photos: Jillian Ciemities, Kamila Waleszkiewicz

Iwona Van Niekerk

Element & Urban Structure

Element: Photography on paper, 12 cm x 12 cm

Urban Structure: Oil and acrylic paint on linen, 61 cm (H) x 45.5 cm (W) x 3.5 cm (D)

I drew inspiration from a photograph taken in 1939 that depicted a bustling scene in Inglewood, with its tower clock, trams, and wire grid. This photograph captured a moment in time, frozen forever in history, but it also represents a broader theme of urbanisation and the emergence of modern cities. In my work, I aimed to capture the essence of this photograph while also adding my own unique perspective. I focused on the clock, the grid, the tram, and the electrical wires, which all played a significant role in the photograph. These elements, while seemingly mundane, represent the order and structure of the urban environment. The clock symbolises the importance of time, and how it governs our lives in the modern world. The grid, with its straight lines and equal-sized streets, represents the order and structure that we impose on the world around us. The tram and its electrical wires, meanwhile, represent the transportation infrastructure that makes our modern cities possible. Through my abstract representation of these elements, I hope to convey a sense of the beauty and complexity of the urban environment. My work celebrates the order and structure that we have created, while also acknowledging the challenges and problems that arise from living in a modern city. Ultimately, my goal is to create a dialogue between the viewer and the artwork, inviting them to explore their own experiences and emotions within the context of the urban landscape.

Photos: Iwona Van Niekerk

Peter Campagna in response to Iwona Van Niekerk's artwork

Roads, Parks, and Intersections

My second work is in response to Iwona's piece in which she has used the imagery of early Inglewood in a checked form which she stated was a typical format that she liked to use in her work. I have prepared a series of pieces on Corfu in a somewhat checked form with a vaguely checked pattern and has the form of roads parks and structures of which I have pieced together on hardboard and layered to capture the suburban element of Inglewood and which also includes the checkered appearance of Iwona's style of work.

Acrylic and paint pen on corfu and board, mix-media, 60 cm x 50 cm Photo: Jillian Ciemities

Jillian Ciemitis

The Beast

Photography and collage, 42 cm x 30 cm

What inspired me about Louise Well’s art project and my response to the Inglewood historical photos, was travelling through time. The one constant was the Inglewood Clock Tower, Beaufort Street and the heritage buildings. I created a photographic pastiche of one of the historical photos with the clock tower and trams on Beaufort Street. I replaced the tram with our 1976 Kingswood Holden car, an echo to another era in the Beaufort Street photographs of the seventies. By using multiple collage layers, and unbalanced elements, I created an illusion of an unsettled multi-dimensional time and space.

Photos: Jillian Ciemitis

Graham Hay in response to Jillian Ciemitis's artwork

Good bones

I selectively created parts from Jillian Ciemiti’s image: car wheels and terracotta bricks. The latter referenced Phillipa O’Brien’s public art brick paving (inspired by British Artist Tess Jarray) Beaufort Street footpath patterns which mimic Inglewood house brick patterns. Blended within the tram and car wheels and the tiny tuck pointed terracotta bricks, are curved bones. While cars have replaced the Beaufort Street trams, I’m still hopeful that like the Fremantle trainline, the latter will be restarted in the future. I selectively created parts from Jillian Ciemitis’s image: car wheels and terracotta bricks. The latter referenced Phillipa O’Brien’s public art brick paving (inspired by British Artist Tess Jarray) Beaufort Street footpath patterns which mimic Inglewood house brick patterns.

Ceramic Earthenware and Terracotta paper clay acrylic paint, 30 cm x 44 cm x 28 cm (approx.)) Photos: Graham Hay

Kamila Waleszkiewicz

Time passing by

While perusing Louise Wells' photographs, my initial impression was of the bareness of the streets in Inglewood, lacking in the lushness of trees. However, my attention was soon drawn to daily city life. The striking contrasts with our present routines were evident, as horses and trams served as the main mode of transportation, and vendors sold vegetables from a lorry (photo: "1951 Kings Mobile Vegetable and Fruit Supply"). One snapshot captured a young boy playing with water from a horse trough. For reasons unclear, my thoughts shifted to two solitary figures: the lady atop the white horse during a fox hunt (photo: "Fox hunt"), and the white silhouette of the Clock Tower (photo: "1939 Civic Theatre"). Despite the busy crowd around them, both figures appeared lost in contemplation. Maybe only they can see the fleeting nature of time, which so often is beyond our perception. I couldn't resist the charm of these two figures and I allowed time to swallow me up as well. Thus, not one but six works were created in response to Louise Wells’ "call".

Photos: Kamila Waleszkiewicz Acrylic gel print on paper and textiles, 29.5 cm x 42 cm (each)

Jillian Ciemitis in response to Kamila Waleszkiewicz's artwork

Remembering

I responded to Kamila Waleszkiewicz’s print series on Inglewood. The print that spoke to me, was a soldier on horseback standing in front of the Inglewood clocktower. Was he, waiting for the time to go off to war? Or wanting to put the clock back to another time? My silkscreen is of a haunting landscape of surreal dead trees. Not unlike what remains after war, physically and metaphorically. I photographed red poppies growing on an Inglewood verge, a symbol of Anzac Day in remembrance of the men and women that lost their lives in the wars. Using collage, I placed the red poppies into the stark landscape. The crimson red against the noir black and white became a metaphor for the bloodshed that war brings.

Silkscreen and collage, 42 cm x 30 cm Photo: Jillian Ciemities

Louise Wells

Ribbon Grants Original Land & Survey Circa 1935

Ribbon Grants: Recycled woollen blanket, Survey Circa 1935: Handwoven silk organza, embroidery thread, 159 cm (H) x 87cm (W)

Inglewood stands on Mooro country. I questioned what the land would have looked like to the traditional owners, the Wadjak people of the Noongar Nation. One small parcel of land, The Inglewood Triangle, which has never been built on, is the closest reference available to the original flora. On colonization, the initial system of obtaining land in the Crown Colony of WA was devised for colonists to obtain land on conditions of improvement, without them having to purchase it. The artwork Ribbon Grants aims to show what the land would have looked like prior to cultivation or improvement. RetroMaps from the State Records Office of Western Australia show the original surveys of Perth up to 100 years ago. The maps show Inglewood as it was around the 1930s. Survey Circa 1935, slowly hand stitched on silk organza, outlines the streets, subdivisions, and blocks and has helped me understand the size of the land and the little amount of remaining natural bush that is Inglewood Triangle.

Photos: Josh Wells

Peter Ciemitis in response to Louise Wells' artwork

Floating Land (Inglewood)

“Floating Land (Inglewood)” responds to Louise Wells’ works on fabric documenting pre-settlement vegetative mapping of the triangle, and the early surveyed lotting plans of the Inglewood neighbourhood. “Floating Land (Inglewood)” examines the idea that unlike the holistic perception of country held by traditional owners, our contemporary western view sees land and place as individual, disaggregated ‘bits’... something to be traded, defended and modified. The work depicts an abstracted idea of land or place as floating bits, with a superimposed layer of street patterning, eradicating the natural vegetative landscape in its path.

Acrylic on canvas, 40 cm x 60 cm Photo: Jillian Ciemities

Naomi Antenucci Then

repurposed cardboard boxes. This method allows for a quicker timeframe but is more restrictive for detailing. I produced a “literal” translation and interpretation of the photograph, playing with strong shapes and lines rather than replicating the minute details. I decided on a simple and clean title of “Then” for the print.

Cardboard Collagraph Intaglio Print, 30 cm x 23 cm Photo: Naomi Antenucci

Sue Hibbert in response to Naomi Antenucci's artwork

Shadows of Time

Watercolour, 56 cm round

I was intrigued by the silhouetted figures and the strong perspective patterns formed by tram lines and overhead wires in Naomi’s limited edition print. I chose a round format to suggest the clock tower, symbolising the past and bringing the painting into the present time. Granulating watercolour paint was used for texture on the ground, applying a wet into wet technique where colours mix randomly. Silhouette figures move through the painted image appearing unaware of our connection to the past.

Photo: Jillian Ciemities

Peter Campagna

Civic via adolescence

Acrylic on canvas, 50 cm x 50 cm

My initial piece is of the Inglewood Clock Tower which was a pivotal and significant part of my growing up in Inglewood. As a young impressionable boy, my family would attend the Friday night sessions in the Theatre garden on hot evenings. It was the best part of the week which we would look forward to, searching the newspaper all week to get a glimpse of what was showing that week. Saturday afternoon was also a chance to attend the Matinee which often showed an action movie including the "Lone Ranger" or "Batman" serial, and I looked forward to spending my allowance for the week on a comic or sherbet from the theatre shop. So the Theatre was a big part of my early years. Some Photos of the early years of the theatre, triggered many memories of the experiences I had during those years. My piece was produced in a naive style depicting the way I saw the theatre in those early years.

Photos: Jillian Ciemitis, Kamila Waleszkiewicz

in response to Peter Campagna's artwork

A step back in time

Found object and sculpture (Variable)

My response to the artworks produced from the second artwork “Call” was influenced by the thoughts of several of the artists present but responded to one artist’s personal story. Challenging myself a diverted from my printmaking background and produced a sculptural work using a found object and historical photography. This historical photography documents the urban changes over several decades, following the physical journey the artist recounted taking as a child growing up in the Inglewood area. The found object used is from his father’s shoe business, one of several in the Inglewood area over the years. Titled “A step back in time” I hope the viewer is taken on a journey back over the changes to Beaufort Street since the 1960’s to present day.

Photos: Jillian Ciemities

Peter Ciemitis

Fading Land

Pen and ink, paper, 70 cm x 50 cm

“Fading Land” responds to the artist’s own images of the Inglewood Triangle, examining the fading remnants of pre-settlement woodland; its richness of grain, life, texture and form.

Photo: Jillian Ciemitis

Iwona Van Niekerk in response to Peter Ciemitis's artwork

Nature's energy

Pen on paper, 42 cm x 30 cm

This work was inspired by Peter Ciemitis' artwork. The drawing of the tree trunk resembled a snake's open mouth, with intricate details of the bark and twisted knots that evoked a sense of raw energy and power. In response, I created a drawing of a snake with an open mouth, aiming to convey the same primal energy and intensity as the original artwork. The snake's sharp fangs and sinuous curves represent strength and vitality, and my intention was for it to complement the original artwork while also standing on its own as a piece of art. Through my response artwork, I hope to pay tribute to the beauty and complexity of nature, which is often overlooked in our busy lives. My goal is to encourage appreciation for the artistry that can be found in even the simplest of forms. Through art, we can capture the raw energy and beauty of the world around us and share it with others in a meaningful and powerful way.

Photos: Iwona Van Niekerk

Sue Hibbert

Inglewood Trams 1930s

Watercolour, 28 cm x 45 cm

Reflecting upon the many historic photos of Inglewood provided by Louise, I was interested in the trams that once occupied the centre of Beaufort Street and the tinted colour of old photographic prints. My watercolour painting attempts to capture a bygone era, using a first wash of tea to stain the 100% cotton rag watercolour paper. Tea was commonly used as a natural plant dye for lace and linens. A reduced palette of three colours were applied, yellow ochre, cobalt blue and sepia starting with transparent layers building up to darker tones as the painting progressed.

Photo: Jillian Ciemities

Irvine Hay in response to Sue Hibbert's artwork

Beaufort Clock Tower

Predominantly recycled brass, steel, stone, and electronic components 66 cm (H) x 22 cm (W) x 22 cm (D)

The contrast of the formal elements of the trams and buildings with the energy of the dynamic sepia tones in Sue’s painting really appealed to me. Since I was still working out the mechanical aspects of the Beaufort Clock Tower by the time of the response meeting, I decided to incorporate some of that toning and more randomised colouring into the same piece.

Photo: Irvine Hay Photo: Jillian Ciemitis

INGLEWOOD ARTS HUB

ART EXHIBITION CONVERSATIONS

24th of April 2023

5.30 - 8.30 pm

at Inglewood Town Square

895B Beaufort St, Inglewood WA 6052

Inglewood Arts Hub

hello@inglewoodartshub.org www.inglewoodartshub.org

www.inglewoodonbeaufort.com

Catalogue design: Kamila Waleszkiewicz

ISBN: 9798390916094

Inglewood Arts Hub has been supported by the City of Stirling, the Western Australian Government through the Small Grants program and RAC through the Connecting Communities Fund.

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