Unboxed / Lahtipakitud

ACKNOWLEDGEMENT OF COUNTRY

UnboxedILahtipakitudtakes placeonunceded Gadigal countryand wasconceptualised on Wallumedegalland also known as Ryde. Participating artistsjoinremotely fromNaarm to Boorloo, artworks transiting across expanses offibre optic networks and freeways tobe displayed here in Warrang. OnbehalfoftheEstonian Society ofSydney weacknowledge thetraditionalEldersofthis landpast, presentandemergingand extend our continuous respecttoallFirstNations peopleintheirongoingconnectionand carefor Country. We alsonotethat archives remaintobesources ofbothtraumaand intergenerational painand highlighttheimportant rolearchivists andhistorians playin documentingand actingupon theinjusticesofthepast (andpresent*) throughtheirinvestigationsand work.

PREFACE:

Archivesintheory arenotdissimilarto acuratedgallery - oftasynchronousspacesof convergenttimelines,storiesandbodies. Withintheonceoccupiedspacepreviously held by theEstonianArchivesinAustralia,memoriesandstorieslingerwithinwallsofpeeling plasterand shadowsofarchitecture,dustcreatingoutlinesofpictureframesorshelving cabinets.Asmeetingplaces fordisparatememoirs, fictionsandartefacts, the archiveisa constantflux of historiessaidtorepresenta people andtheirmomentintime.

Howeverweknowarchivesarenothomogenousnorequalandaremoreakintoan unharmoniouschoir. Someserveaselegiacrestingplaceslamentinga pastirrecoverably lost; solemn andsober. Others asbastionsofknowledgeformarginalisedandperipheral communitieswhosehistoriesareactively negated by institutions seekingto perfectavision of cultural homogeneity. Whatunitesisa needto acquire, tocollectandpreservehistory. Whenweinterrogatetheproblematicsofthisownership, ofrepatriation, of decontextualisation,ofcarbon offsets andsustainability inarchivesandoffosteringcare towardsobjects, howcan wereimaginethearchive?

UnboxedILahtipakitudpresentsalternatives, unpackingsandinterrogationsintothe archive. Through contemporary, historical andrevisionistframeworks, thegroup considers howthearchiveinfluences artists andequally howartistsspeakbackto, wrestlewith and createnewhistoriesthroughtheir practices. Itaskswhatdoesitlookliketo revisitthe archive, tounbox andopen up historiesforgotten, and howdowecareforthis pasttomove into ourfuture.As aconceptthis showequally actsasa moreliteralopeningup forour Estoniancommunity in Sydney, to reach andembraceexternalculturalcommunities and allowothersto engageboth in dialogueandinparticipation.

Throughoutalltheseinterrogations, itremainsinourinteresttokeep unpacking.

AGUS WIJAYA:

Born inCianjur, asmall towninWestJava,AgusWijayais anIndonesianartistof ChinesebackgroundwhonowlivesinAustralia.Agusembraceswhatareseenasseparate culturesand disciplines, fortheyall haveapartinhisidentityconstructionand practice. His works makesimilarconnections, servingashisplaceofreconciliation.

Wijaya'spracticequestionsthe constructionofboththepersonal and culturalselfthrough 3Dabstraction, experimental sculptureandnewmedia. Drawingonthebeliefs and elements from Indonesia asheseekstoreconnect withthecultural heritage-thathe stayed awayfrom, butcametorealise-thatdespiteeverything, helpsexplainhis perception ofthings. Hisrecentworks area multi-mediumexplorationofidentification and dis-identification, ofpersonal and cultural histories, ofthebridges andglitches betweenwaysofknowingand seeing.

Wijayahasbeen selected asa finalistin Grace Cossington Smith, Woollahra Small SculpturePrize, Fisher's Ghost,North SydneyArtPrizeandthe churchie.

Instagram: @agwjya ,,-2022, written text G sculptural work incorporating pre-existing elements, materials &dimensions variable

WhereatI andI; Yetsimilarparallelmore; Neverbetweenand ofthingsnow; Eventsbacka constructof; Inand partentangledto; Their 'both'alongconquer; And divide all; - certainlines -

ASTRID ELOUISE BELL:

AstridElouiseBellisapainter, writer, andgeneralrummagerwholivesandworks betweenthelandsoftheGadigal andDharawalpeople.Herworkisbroadlyinterestedinthethings thateludeourgrasp, supportstructuresandthestoriesthatbring usto our workandeachother.Alwaysattempting to findritualintheeveryday, collective inthe familial and history withintheobject.Using practicesofpainting, photography, writing, walkingandtalkingtoconjureamess thatcoheres.Herrecentworksare anattemptto traillinesofdesire andrevealthephenomenaoftheeverydaythatis obscuredbyhabit.Herpaintingandwritingisattentivetofamiliaritiesandamit that are curiously underrepresented; emphasising communalcare, knowledge, leisure, andlabour.

Instagram: @atomicglum

,,Counting to ten and back"

2020-2022, acrylic on pine, multiple works of various dimensions, ranging from 20cm x 5cm - 35cm x 40cm

Countingtoten andback, isacollectionofpaintingsthatusedilutedacrylicpainton untreatedpinewood.TheseworksareselectedfromAstrid'sarchiveofpastworks, broughttogetherfromdifferentprojectsandideastocreateanewarrangementor narrative.

Selectingthisnewcombinationfromthepast, speakstothegenerativepotentialof reflection, repetition, record, andplacement.Theworksaremadeusinga relianceon photographyasa reference, thoughareblurredand murky.Theimagesseemtobe arrivingorhavingjustarrived ontheboard.Theritualpractice ofcreatinganimage, labouringoveritsappearanceandpresence, iscontinuedtoconsiderhowa finished workmaysitorspeak alongsideotherworksinnewspaces, made yearsorweeks before.

AULIAYERU:

AuliaYeruisknownasalecturer, researcher andartist.HeteachesinIntermedia StudioatUniversitasTelkom, IndonesiaandiscurrentlypursuingaPhD inArtat UNSWAustralia.Aulia'sartmakingandresearchsituatesitselfwithinthe intersectionofartisticpractice, environmentalchangeandspatialproduction.Aulia maintainshisartisticpracticeby continuouslyexperimentingwithmethods, which currently focuseson environmental issues.Aulia has exhibited hisworks around Jakarta, Bandung, andJogjakarta.

Website: www.auliayeru.com Instagram: @auliayeru

,,Aras Filem

(Cikapundung

Kolat)"

2020, Fuji ProfessionalPhoto Paper mountedon aluminium dibond, 42cm x 29.7cm

Acrossthisseries, a filmsoupwascreatedthat documentedandcapturedthechange inwater qualityofthe Cikapundungriveratnoon, whichdividesthe cityofBandung inWest Java.Using 35mm filmstillstakenunderwaterand developed fromthe pollutedwatersamples, thisworkstems frommysearchfora mediumwhichcan stage andpresent andstage waterasalivingbeing. Myrecenteffortshave been centredtosearchforaplatformor"translationmachine" forthe watertospeaktous inthe formofvisuallanguages.

AISYAHAAQIL SUMITO:

AisyahAaqil Sumitoisa writerandcommunity artist basedbetweenBoorloo/perth, andsometimes Gadigalland/sydney.Theirhabitudeoperates towards aprovision of toolsforcollective liberation, outside thetoolsofthe institution. Theirthreadsof research are drawn from withinMalay-Anglosubjectivitiesandmoveslowly through contemporary andancestral understandings ofgender, collective healing and embodiedritual.

Aisyahhasparticipatedin lotsofprojectsin bothconventionalandunconventional capacities, butmostly theyorientthemselfwith discretionandintimacy.TheyDJ undera few differentmonikers, experimentwithsoundandwaftinother performativecapacities.

Website: aaqilsumito.com

,,Donation to the Archives" 2019, three-channel film, 45:43mins

Donation to theArchives wasaperformative responseto gaps inthe James Sykes BattyeArchiveofWesternAustralianHistory, housedbythe State LibraryofWestern Australia. Atthecentreofaclusterofculturalinstitutions-Perth Institute of ContemporaryArts, theArt GalleryofWA, the Museum ofWA(BoolaBardip, asit wasbeingreconstructed)andthe StateLibraryofWA- Sumitopubliclydresses themselfinculturallymasc-codedgarments.Documented fromthreeangles, and combinedinto asinglechannelvideo, Sumitoplayswithmisnomersof authenticity, andattempts to addresstheseinstitutionsthrougha return ofthecolonial gaze. Donation to theArchives wasoriginallyintendedasan eventualsupplementationto the archive, butitwas never actually donated. Filmed by Gabby Loo, GokLimFinch andAnnika Moses, and edited by Shannon Marlborough.

BilliePosters' ceramic workisacrossoverbetweenprintmakingand pottery, exploiting thepotentiality forreproductionthrough thetwo mediums. Theirworkis interested inthebondbetween craftskilland the occult. Inspired by theproletariat culture andprintmakingoftheformer SovietUnion, Posters'intention is "torework imagesofthe past, not withpedanticveneration oftheoldbut with thedesireto drinkdeeply thereality ofthepresent". Instagram: @billieposters

Interestedin reduced pictoriallanguagesandaggregatecollagesofassortedcourt sketches, Ottomar Starke and cartoonsillustratedby theirgreat-grandfather, these objectsspeakontheirown accord asahistoricalobjects, decontextualizedwithout titleorintendedinterpretation.

BLAKE LAWRENCE:

Blake Lawrenceisaninterdisciplinary artist workingacrossphotography, drag, video andperformance.Drawingontheperformativepotentialof materials, Lawrence worksin entanglement withcrudeandcameralessphotographicprocesses.They are devotedtorelationship andresponsibility beyond genealogy, absenceandresidue, drag, care, love, sex andpleasureinapractice-basedresearch.

Born onYaegllandandwatersinNorthernNSW, Lawrence livesandworkson Gadigal land.They completeda Bachelor ofVisualArtsat theSydney College of TheArts, and subsequently HonoursIn Design (Photography) attheUniversity of Technology, Sydney.They haveexhibitedlocally andinterstate, atFirstdraft, Seventh Gallery, C3 Contemporary, TheWallsandVerge.They havepresentedliveworkin Brisbane'sSpringHillReservoirs, theArt Gallery ofNSW andNewcastle'sThisIs NotArtandhaveperformeddragat ClubKooky, TheBeardedTit,BadDog, Tropical Fruits, FallsFestival and more.

Website:https://www.blakealanlawrence.com

Instagram: @blakelawrence

,,Dust"

2021, single-channel HD video, 60:00 minutes, madein collaborationwith GardenReftexxx

Dustisanhour long filmfollowingthe artistandcollaboratorsGardenReflexxxas they exploretheruinsofan abandonedgay bathhouseinSydney'seastern suburbs. Theanecdotal, ephemeralandconversationalhintat connectionsandintimaciesthat transcendboundariesoftime, placeandmatter.Aglory holeasanaperture.

,,Fairy Floss"

2016, archival pigment print onIlfordPrestige Gloss, 59cm x84cm

An archiveofintimacy, anarchiveof bodies-FairyFlossisaphotographofthe linttray oftheindustrialdryeratabathhousefor gay men.

ClareMilledgeisanartistandacademic. Milledgelivesandworksbetween the landsofthe ArakwalandWidjabulWia-bal peopleoftheBundjalungNation (Northern NSW) and the lands oftheGarigal, Bidjigaland GadigalpeopleoftheEoraNation (Warrang/Sydney). SheisaSeniorLectureratUNSW Arts, Design & Architectureandisrepresented by STATION gallery.

Clare re-examines contemporary environments with afocusonour engagement with ecology through art, in particular through theuseof the historical figure ofthe artist-shaman. Workingwith fieldwork asherprimary methodology shecollects, re-organises, transformsandre-presentsrecordings, informationand materialgathered on ecologicalsurveys, dailyexperiencesand sitevisits. Herresearch outputtakes the formof public installationenvironments that variouslyincorporate glass paintings, textileworks, poetry, costumes, sets, collaborative experimentalsoundandperformance.

Clarehasheldnumeroussoloexhibitionsatcommercialgalleries, primarilySTATION Gallery and TheCommercialGallery.Mostrecentlysheexhibitedan installationImbas:a wellat thebottomoftheseain the23rdBiennaleofSydney:rivus(2022), andhas previously exhibited atthe University of TechnologySydney, Sydney Collegeof theArts, GriffithUniversityArt Galleryand numerous otherUniversity Galleries.

Website:https://claremilledge.com/ Instagram: @studiomilledge

paintings) basedon geographically specific ecological surveysof vertebrate speciesusing thephoneapp Tinderandhuman translations of other vertebrate species calls.Partofawider project advocating listening to forestsas living entities, theseworksbecomea means toengagewithecology. Beginning withthe methodologyoffieldwork, herartworks developthroughthetranslationofinformationand material gatheredonecologicalsitevisits. Milledge employs the figure of theartist-shaman inherworkasatransformativemetaphor, imbuinginstallations, otherwisebased upon scientific data, withamysticalquality.

The child of twoecologists, whoare frequentcollaboratorsinherresearch, Milledgeis interestedinthefieldworkobservationsthatareoftenexcludedfrompublishedresearchtheconversationsand marginalnotes that 'enrichthestory inwaysthatpuredatacannot'.

DAVID SUYASA:

SuyasaisaAustralian-Balineseartistlivingandworkingin Eora (Sydney). Their practiceis concernedwithcritical approachestophotographywhichencompassesthe historical, conceptualand formal potential ofthemediumin acontemporaryartcontext. Previous workand projectsinclude 'Fruit oftheRoom'atKingsArtistRun, 'Circling the Sun' curated by TimMarvinatFirstdraft,ARTISTxARTISTtalkwithMayaKilicat CementFondu, co-director ofLayton Street and publicationwithPeril Magazine.

Instagram: @davidsuyasa

,,Candlestick", from

the series ,,Fruit ofthe Room"

2022, UV digital print on opal acrylic in handmade lightbox G photograph, 62.5cm x 44cm x 15cm

FruitoftheRoom considers thepotentialofphotographyandthemodel astoolsto reconstructthepast. Emerging from adesiretounderstand thelifeof mysiblingsbeforeI wasbornwiththe family photoalbum asthesource. Quicklyrecognising theimpossibility ofextracting any objectiveunderstanding ofthepast, I shiftedmyinvestigation fromthe what-has-beentothewhat-could-have-been.

The workfocusesondomesticinteriorscenesfound inthephotographs whichhavebeen reconstructedvia 3Dmodelling. Theresultingabstractionsofsourcematerialare transmuted into projections ofan imagined past. Departing from photographic conceptions that promiseadirect relationship betweentheimageand thetimeit represents, theseries instead privilegestheimaginativeand affectiveresponses toimagesfound inthe family archive.

David

DYLAN GOH:

DylanGoh is acultural practitionerwithsevenyears ofexperienceasanartist, curator, dancerand museumworkerfromSydney, Australia.Speakingtohis experiencesas a secondgeneration Asian Australiancaughtbetweentwoworlds, Dylan's multidisciplinary practiceleveragesstorytelling andparticipationto disarmaudiences, engenderempathyand transferknowledge.

Hiswork-in-progress �1l./rffi.(Chi-Fan) -isanimmersiveculinarydatabasetracing theintimatestoriesand migrationof food recipes across thecontested "Chinesediaspora." Otherselected projectsinclude: ½� (2022)-a videoinstallationexploringcelebrity crushes as aqueer Asianyouth; PorporandI(���□�): the interview(2020-21)-a videoinstallation speaking tolanguagebarriers, food asa vehicle forloveand overcoming isolationin the pandemic; andBaba Well(2019)-aceramicwellfilledwithintensely flavouredmilktea fromaMalaysianfamilyrecipe.

InarecenttalkforMuseums & GalleriesofNSW, Dylanchampioned theideaofmuseums asspacesforcultural practiceand exchangeforliving communities- as opposed tostorage facilitiesforobject-basedcollections.FromOctober2022, hewillundertakea16-month residencyinKoreatolearn bestpractices inintangibleculturalheritage.

Website:www.dillydg.com Instagram: @dilly_dg ,,CuratingAMuseum

2022, digital presentation, video, 10:47 minutes

Originallypresented on the21stSeptemberat AGNSW for"SPARK: Museums.Ideas. Connections" alongsidepeersintheculturalsector, I championedthecasefor deaccessioning physicalcollectionstoreduceimpactsonclimatechange.I proporsed reconfiguringtheroleof museums intospaces amplifyingthevoices ofindependent curatorswithingrassroot communities. Expanding furtheronthis presentation, Iplacemy proposalinrelationwith PhuongNgo's ongoingBullHorn CakeResearch Centre collectionandexpandmywritingand presentationwithinongoingdialogue.

Presentation:https://youtu.be/r_9PMCLO8w4

GEIRTHANA:

GeirthanaworksonuncededWallumedegal land; figurativelycaughtbetweentheshoresof TamilEelamand (socalled) Sydney. Shewranglesconceptualideastocreatedocumentary typeworksrootedinphotographyand performancetoinvestigatethenotionofliminal identity.By relating spatial and cultural investigationsofselfhood andmemory, she challengesthenotionsoftradition and historytoremaininastateofconstant becoming.

Website: www.geirthana.com Instagram: @geirthana

,,MotherTongue"

2022, sandpaper, graphite on salvaged frame, audio, 54cm x 64cm

Thinkingthroughideasonlabour, love, mothertongue, lineage, culture, attempted connection, lossofgenerationalknowledge and silent frustrations. Theburning ofJaffnaPublic LibraryonMay 31st 1981isareminderofthelossofTamilculture. Inconversationwith hermother,anewspaperarticleistranslated throughgenerations; andrefigured asa palimpsest ofanunfamiliar language. Thisartworkisanattempt toconsiderhowmemory carriescultural legaciesforwardwhenthephysicalnolongerremains, nor the vocabulary tounderstand.

HANNAH ROSE CARROLL HARRIS:

Hannah RoseCarrollHarris isanartistworkingin sculptureandinstallationonunceded Dharug land.Drawinginspiration fromthelandscape, her practiceengagesinaprocessof collectionandre-assemblageinanattempttore-imageourplaceinthenaturalworldinthis anthropogenic age.

Hannah Rose Carroll Harriswasselected as a finalistintheNorth SydneyArtPrize2019, received aTomBass Sculpture Scholarship 2018, thewinneroftheCooks RiverSmall SculpturePrize2017 andwasselected asafinalistintheTim Olsen DrawingPrize2014. Shehas exhibitedinternationallyand has beenArtistin Residence atWorldof Co Residency SofiaBulgaria2017 andat GreenhouseResidencyFowlers GapNSW 2016.

Website:https://www.hannahrosecarrollharris.net Instagram: @hannahrosech

,,neither here nor there" 2020/22, paper and Vietri sul Mare terrazzo tile, dimensions variable

neither herenor there (2020/22) isatwopartworkresponding to aterrazzostonepiece whichwashed ashoreabeachinVietri SulMareduring amomentwhereIwas stranded, homesick and yet gifted/burdenedwithanabundanceof time. This palimpsestof paperand stonedrawsongeologyas a formof record- mappinghistoryandthepassing of time physically, aswellasourhumanemotional understanding of vasttimegeological scales. Weareneither herenorthere.Andyetwewillmark ourtimeherein stone.

JUDITHMARTINEZ ESTRADA:

JudithMartinezEstradais aSpanish/Australian artistbased on Gundungurra countryinthe BlueMountains. SheisaPhD candidateatTheUniversityofNewSouthWales(UNSW), Sydney, fromwhichshealsohas aMasterofPhilosophyinFineArtsandaBachelorof Design. Hercreativepracticeexplorescollectiveandhistoricalmemoryand theretellingof narratives throughtheuseandinterpretation ofdocuments, images andartefacts foundin thearchive. Judithwasawarded theState LibraryofVictoriacreative fellowship in 2019/20.

Shehasbeenartist in residenceatAlfredUniversity inNewYork, CicadaPress inSydney, andMegaloPrintStudioin Canberra. Judithhashadexhibitions ingalleries, museums, art fairsand cultural institutions bothinAustraliaandinSpain. Shehasbeena finalist inThe FremantleArts CentrePrintAwardandTheMegalo InternationalPrintPrize, highlycommendedinThe OliveCottonAward, andawardedtheaccesit prizeforElPremioInternacionaldeArteGnificaJesusNunez. She isrepresentedbythe Lost Bear GalleryinAustralia.

Instagram: @judithmartinezestrada

,,My grandmother was a seamstress

0-111)"

2018, digital photomontage of ID photographs dating to Spanish Civil War, merged with sewing samples printed on Hahnemiihle Photo rag, 81 cm x 61 cm. Created at Alfred University, Expanded Media Department, New York, USA

Mygrandmother wasa Seamstressis adigitallycreated triptychfeaturingtwoidentity portraitsandavernacularweddingphotograph, overlayed withembroideryexamples created bymygrandmotherEmilia. Thesesampleshavebeenneatlypresentedina handmade folder, measuring only15cmx10cm. Eachpagefeatures delicateembroidery techniques, fromthepurely decorative, tobuttonholesand utilitarianmendingmethods. Thesmall bookis initselfanobject ofunderstatedbeauty, whereeachpiece ofthinecru coloured cotton fabrichasbeenglued touncoatedblackcardboardpages andprotected by tissue paper. Randomstainsof dried gluearepresent throughoutthebook, addingagemarksand detracting fromtheotherwiseimmaculatestitching.

By bringing thestitchingtothe foreground oftheimages inMygrandmotherwasaSeamstress, inadditiontoconcealingtheeyesofbothgrandparentsinthephotographs, the focus isshifted fromtheportrait, that ofthehumangaze, tothesewing, thatofthemakingand thefeminine. Whenincreasedinsize, thefabric, embroideryand detailedpatterns appear to beatactilepatternincode-amessage-one only Emilia, asthe author of these pieces, could havedeciphered, and onethat we, asviewerscanguess at.

KATEMcGUINNESS:

KateMcGuinnessis avisualartistlivingin Sydney. Predominantly workingwithvideoand performanceKate'spracticeis based on verytrueandrealevents. Divingdeepintothe psychethroughabstractcomicalexpressionherworkhas featuredinboththe Sydney, Melbourneand London Comedy festivals.

Instagram: @batekush666

,,Princess Die audition tape and collage"

1981-2022, film, magazine collage on board, 100cm x 200cm

Someonetold meIhadasimilar profiletoPrincessDi. Eventhough mynoseis abitbigger than hers, Ihaveneverreceivedacomplimentofsuchgrandeurbefore.

Helenfrom Satton Heights, QLD - ormorecommonlyknownbyhereBay usemame @graftonbookworm, has collected everymagazineshecouldfindwithDianaonthecover. Since Di's first appearanceasPrince Charles' young girlfriendin the 1980's andoften buyingfivecopies ofthesamemagazine, Helen was such aloyalcustomeratherlocal newsagentthatshewas even given those issuesthatdidn'tsell. The penpal relationshipwe developedviaeBayinspiredPrincessDie auditiontapeandcollage (2022) andisanodeto Helen's lifelongobsession witharchivingDiana, the 'People'sPrincess'.

LACHIE THOMPSON:

LachieThompsonis aChinese-Australianartistlivingandworkingonunceded Gadigal Land.Hispracticehas foundationsinphotography, whichcoincideswithstudiesin Sociology andAnthropology.Thisinformsinterestsintheproductionofknowledgeaswellas alternativemeansofthinkingthroughmethodssuchasmaking, experimentationandpoetics.

Instagram: @lachie.t_

,,Untitled"

2022, backlit film, stereoscope, dimensions variable

Stereoscopy lookstorecreatetheexperience ofstereopsis, mimickingtheviewofboth eyes, whichare combined by thebrain, givingthe illusionofdepth.Thisillusionofa deepenedphotographic perspectivehasa keen focus ontheobject, itsinglesthings out, separating foreground frombackground, object fromobject.Thestereoscopeisalsointeresting for itsnovelty andhistory whichplacesit asanartefactinits ownright, butalsoasatool for v1ewmg.

Thisworktriesto play around witharchivalandphotographic forms ofviewing/seeing, presentingimagesofspareobjects and frames yet toberemoved from thesoontoberepurposed archivespace.

LachlanBell (he/him) isanartist/designerlivinginWallumetta (Ryde) workingacross textiles, photography, filmandgraphicdesign/branding.Growing upembeddedwithinthe Sydney-Estoniancommunity hasledhim tofindappreciationin all things ethnic and questionswhatauthenticity lookslikewithin acommunity facinganintergenerational identity crisis.

Inspiredby oral history, musty archives, quietpocketsoftheinternet, scientific journals and folklore, Lachlancreatesworkthatnavigatesspeculativehistories, communalmemory loss andnotions ofbelonging.

Website:https://lcbell.cargo.site Instagram: @loch.man

,,AMoment For Rest"

2022-, communal librarycomprising ofa collection oftexts and writings on bambooshelf, embroideredcushionsbyMai Lehtsalu (1969-1979), handwoven rug byMarta Kond (c.1970), dimensions variable

A Moment ofRestconsiders thearchiveasareststop, aplaceofcontemplationinwhichto orientate and placeoneselfwithinamomentintime. Presentinga collection ofbooks, zines and sketchbooks contributedby participating artistsand fromprivatelibraries, expanding onthemes ofmemory, researchand archiving.

,,A Scrap"

n.d., wallpaper fragment, glass, wood, 20cm x 15 cm

Ascrapoforiginalwallpapersalvaged fromtheformerdininghall-turned archivein EstonianHouse. Haphazardly collectedinbetweenrenovations during2021-22fortherelocationofthe EstonianArchivesinAustraliadownstairs, thisfragmentlingers on as acurious specimensuspendedinglass.

,,AWindow That We Assemble"

1925-2022, various artworks behind a locked glass door, 428 x 346cm

Anongoing workinprogress ofdocumentationandinvestigation.Themajority ofthis collection waspreviously hidden, nestledbetween walls, outofsight, forgottenand unattributed.

LoraAdzic is anartistanddesignercurrentlycompletingherBachelorofFineArts HonoursatRMIT, Melbourne. Herartpracticeis largelyfocusedonmaterial investigations ofarchivalmatter as ameans ofunderstanding thediasporic experience.

Throughexamining thespacebetweenthe publicand the private, and experimentingwith thescale and materiality ofherwork, Lora aimsto providenew perspectives onthe form and function ofarchives. Consistentthroughoutherpracticeis anexplorationof materialityandinstallationcomposition, and anattempttomonumentalise thatwhich is forgotten orunknown.

Instagram: @loraadzic

,,Petlja (Loop)"

2022, heat-pressed Google maps images on calico suspended byceramic chains, 110cm x 155cm

Petlja (Loop) ispartofasitespecificinvestigationinto a cemeteryinSarajevo, Bosnia calledRimokatolicko Groblje. StupskaPetlja (StupInterchange), whichisthelargest highwayinterchangeintheBalkans, overpassesthecemeteryinwhichmymaternal grandparents andgreatgrandparents areburied. Thedichotomyofthis location is most evidentwhenvisitingthesiteinperson. The highwaysthattower above aresignifiers of speed, modern life and ameans forarriving atoneofmanypossibledestinations. These structuresswallowthe graveyardwhichsitsbelow; asiteofslowprocession, meditative farewell, ritual andtheveryfinaldestination ofaperson. The physicaldisruptionofthis site parallels countlesshistorical events ofculturaldestruction, whetherthatbeintentional orinadvertent. Both formsofdestructionoccurredintheYugoslavian Warsinthe1990's, particularlyinSarajevo, which duetothemulticulturalismofthecity, sufferedthegreatest impact.

I firstvisitedthissitein 2013 with mysisterwhenwewenttoseeourdida (grandpa). He tookustothecemeterytovisitthegravesofourbaka (grandma)andgreat-grandparents. Wehelpedhimclean the graves, tidythe fake flowersthathadwobbledoverand pull out anyweeds. Irepeated thisritual withDidawhen Iwenttovisithimin 2019. Itfeltfamiliar andcalming. He passedawayin 2021, so whenI was abletovisitSarajevo againthisyear, I enactedthe ritual withouthim. Despite thesenseofdisruptionand fluctuation feltatthe site, the actofcleaningthe graveshasbeen, andwillcontinuetobe, aconsistentand repeated ritual.

LOVE CLUB:

Working remotely across Gadigal, BidjigalandWangallands, threequeershaveunitedto fosterahomo-platoniccommunity.Turning dusk todawn, eachprongof ourcollective capabilitieshavecombinedto forma tridentoftidallove.We areonthreeseparatestages of blossoming, butinour parallel andoverlappingexperience, wehopewecantell the missing stories aboutourselves andpeoplelikeus. Our Queernesshasnostatic trajectory; werevelin our childhood, adolescent and future selves, andinviteothers todothe same.

Allowour community building, performative, and homo-inspired projects towashover and intoyour hearts.

Website: www.lovelettersarchive.com ,,Love Letters Archive"

2021 - ongoing, participatoryinstallation, desk, chair, floor cushion, pens, pencils, markers, sharpies, paper, and stickers, 120cmx 75cmx 73cm

Instruction:Audience membersare invited to write alove letter to themselves orsomeone theylove.Aletter canbe writtenformallysitting atthe deskwithwriting toolsandpaper provided. Or,Audiencemembersare invited to graffitialovemessage directly onto the underside of the desk.Audiencemembershave the choice tolie onthefloor or the desk can berepositionedto caterfor individualaccessneeds.

TheLoveLettersArchive is anonlineopensubmissionarchivefor QueerLoveLetters. Lettersmay beaddressedto ourpastselves, futureselves, ortosomeonewhoneedstohear our love.Eachletteris apersonalreflectiononourownjourneysofunderstandingthe beautiful, ever-evolvingnatureof queerness.As queer peoplelook for comfort, wecan rarely accessstoriesfrom queerpeoplethatdocument theirjournies of queerness, of first crushes, of queer friendship. Queerpeopleareoften leftoutofarchives andare forcedto piecetogetherstoriesofearlier queercommunitiesusing thewords ofignorant sources, not thewords ofourowncommunity. Hence, wehavecreatedawebsitecommunity boardto archivethese letters- anarchive for queerpeople, by queerpeople.

JOSHUA DIMATIINA-BEVEN:

(he/they, b. 2002,TeWhanganuiaTara, Wellington, NewZealand)

Joshuaisa2ndyearFineArts andTheatrestudent, working across GadigalandBidjigal landandis one ofthefounding membersofLoveClub.Intheirdeveloping practice, Josh centres on education, campery and community throughthemediums ofphotography and performance. They'veused expanded portraiture to explore their developing queerness, as wellas document thequeercommunity at their conservativehighschool. Creatorofthe Sydney YouthPrideNetwork, JoshuaadvocatesfortherightsofHighschool students throughmentorshipandeducationprograms.Heteachestheatresportsandhas ahistory of stagemanagementand assistant directionofYouththeatre.

Instagram: @joshdibe

AVA LACOON-ROBINSON:

(she/they, b.2001, KaumaLand-NorthAdelaide, SA,Australia) Avaisa 3rd yearFineArts(ArtTheory)andTheatrestudentwhose practicespans across curation, creativedirection, fashion, photography, theatre and journalism.Sheis loving exploring thehorizons ofherownqueeridentity, delevinginto queervortexes and the importance ofplatonicqueer relationships.As avocalactivist and proud member ofthe StandwithTess collective, itis crucialforthemthat this extendsintheirownpractice, creating spaces andworks that catalysediscourse fromaudiences onindigenousjustice, queerrights and mentalhealth.

Instagram: @avalacoon

KIERAN HUGUES BUTLER:

(they/them, b. 1992,Yuin Land-Nowra,NSW,Australia) Kieran HuguesButlerisanemerging artist, designerand artsworkerwholives andworks across Gadigal, BidjigalandWanngallandinWarrang, (Sydney), NSW.Kieran'spractice examinestheintersections ofphotography, environmentalism, and patchwork techniques withinaqueer, trans non-binary framework.Theirworkreflects onthemes ofqueer intimacy, vulnerability, self-awareness, loveand desire.Ultimately, theirpracticeseeksto contributetothegrowingliteratureona-sexual, non-binary andtransgenderlived experiences-somethingthatwas not readily accessibleto themasayoung person.

Website: www.k-h-b.com.au

Instagram: @k.h.bebe

The openingofanold suitcase, thediscoveryofthecalicobagandan unfinished childhood macrame project hasgivenme theopportunitytoexhibitalongsidetrueartists.

IgrewupinThirlmereonTharawal/ Gundungurra CountryamongsttheEstonianpoultry farming Community, followedbyaworkingcareerat Australia'sfirstcomputerbureau, Kellogg's ITdepartmentandinaProjectManagementcompany.Myfieldofinterestis handicraftswhereIdabble, experimentwithfabric, wool, embroideryandpyrographyon native wood, capturingthemes ofmyEstonianculturalheritagewithinthe design. Ihave completed severalTAFEcoursesinFashion relatedsubjects ofFabric and Garment AssemblyandvolunteerasSecretaryfortheSydneyEstonianHandicraft Association (S.E.S Kunsti- KasitooringjaEtnograafiaring).

,,Unpicked"

1968-1971, macrame hanging on wood and Millmaster Feeds Calf-Pab bag, 26cm x 30cm, 45cm x 75cm

MillmasterFeeds Pty Ltd commencedoperationinEnfieldin 1952, producing stockfeed, includingpelletsand foodsupplements for farmanimals. Calf-Pab was amilkreplacement productforpoddycalves. Calf-Pabwaspackedinsideaclearlyidentifiablecalicobag, stitchedtogetherwithheavydutywhiteorcreamcoloured thread.This methodofpacking farmproduce was distinctforthetime.Thisiswherethisstorybegins.

Our familyownedapoultryfarminThirlmere as well as severalheadofcattle.Theearly days offarmlifeweredifficultfora 'NewAustralian'i.e. anEstonian farmerandtheir family.Moneywastightand everyresourcewastobesavedandrepurposed.Poddycalves weresupportedonproductssuchas Calf-Pab.Everybitofpackagingwasrepurposedand recycled; thebag, thethreadand theinnerwaterproofplastic liners weresaved.

The calicobagwas carefullyunpicked, the fabric and threadwerewashed. Thecalicobag was then used tomakepillowand cushion liners, washbagsand library bags.The threadwas used forheavydutysewing, crotchetor macramestylebelts orhandicrafts. Myearlychildhood and primarymemoriesin the 1960'sremindmeofmesneakinginto the stock feed bagshedto locate anopen Calf-Pabbagsoastoeatthetastymilk powder. My after-school activitywashelpingmyisa (dad)mixthepowder and feedthepoddy calves.

Myema (mum) ensured that Iwastoughened upby plucking chooksand theoccasional rooster.Thebestfeathers weresaved, washedandhungto dryontheclothes line andinside a Calf-Pabcalicobag. Afewweeks laterIhadanotherafterschool activity, wheremany hours werespentseparatingthe feathery bits fromthe quill and shaftwhichwerethenplaced insidetherecycledpillowliner.Theendresultwasarelaxed deepsleep, knowingthatIhad madeitmyself.

Bornin Sydneyto Estonianparents, I hadagrandmotherwhomentoredmy loveof colourfulEstonianhandicrafts. IcreatedabookofpatternsasI wasunabletosourceany informationfrombehind theIronCurtain.

Asa child I hadalwaysconsideredI would becomean OccupationalTherapist helpingmakebaksetsandweavingswhereasfateledmetoworkinginIT.

1970-1983,

,,Eesti Padjad"

1969-1979,

Salme-mygrandmother, hadabrilliant senseofcolour, herhomehad theseglorious& colourfultraditionalEstonianpillows whileourhomehad barelyany. Whenmy parents boughtathetrendyParker 70'smissionbrownmodularloungewithfluffywhiteflokati rugs Iwasinspired to make pillows forourhome. Salmehadalotofsparematerial & wool whileI hadmyownEstonianpatternbook.

Fromearly 1970's formanyyears Iwouldbehomealonewithaguarddog, abig German Shepherd namedRuffywhile my parents andsiblingswereoutpartying. Saturday nightsI wouldworkon makingpillows, thebestpartbeing thedesigningprocess, thinkingabout whichbackgroundmaterialworked best, matching thewool scrapsanddecidingon the patterns. Ihadnomoney topurchaseto materials so I hadtouse whateverwasavailable. OnceIhada parttimejob I couldbuy myownmaterials. I still havemy patternbook though itsverydifficulttosource cheap woolsupplies. OvertimeI startingmakingcross stitchpillowswhichtookalongtimetomake.

Inlateryears Salme& I wouldcritiqueeachotherswork, whocouldpick themistakesin thecross-stitch. ThefunniestthingwasSalmeusetohidehersparenotesinherwoolsuply andoftenwarnedus nottothrowanywooloutwithout firstcheckingformoney.

,,Laupaeva ohtud iiksi koeraga kodus"

framed sketch book of Estonian patterns sourced from Triinu magazine (Canada) and folk costumes, 52cm x 41cm

embroidered pillows with donated wool, dimensions variable

NICOLE CADELINA:

NicoleCadelinaisanartist, writer, and digital producer. She completedher finalyearof BachelorofPineArts/Arts atUNSWArt & Designthisyear in2022, alongsideher BachelorofArts(Honours)in 2021.Workingacross sculpture, video, and poetry, Nicole'spractice examines thenuanced andsometimes tense relationshipbetween spiritualityand self. Informed by both personalandculturalepistemologies,Nicole exploresthese interrogationsthroughgestures ofreverenceandlove-comradeship (or, sometimes, the lack thereof)-thesegesturesseek todisruptand exposethe present-daydisillusionof (neo)liberalismand bittersecularism.

Nicolehasbeenfeatured onFBiRadio, Tharunka, andUNSWeetenedLiteraryJournal. Shelives andworksinthehumblestreets ofBlacktown(Dharug), andvolunteers as a corefacilitatoratBayanihanSydney. Her favouritegenre of filmis SBSWorldMovies after 9pm.

Instagram: @ni.muy

,,Bahala na"

2020/2022, six slip-casted Bibles, coverless Bible, printed vignettes, dimensions variable

Bahalanapresents aseries ofslip-castedbiblesstacked ontoitsoriginal, yet cover-less form.The titlederives fromaphrase commonly used amongFilipinos, meaningleaveit up togod orwhateverhappens, happens; afatalisticsayingtocopewiththeuncertaintyofthe future.The phraseisre-contextualised toreflectandmeditateontheartist'sdisposition withtheslip-castingprocess.Each crumblingcopyoftheBibleserves tointerrogatereligion, itstiestocolonialhistories, and itslackofrelevanceinthe presentday. Complementing the body of workis atext-based pieceindialoguewith the slip-casts.The vignetteincludesastill takenfromRobertBresson's Diaryofa CountryPriest, afilm that examines apriest'sdevotiontofaithafterhisencounterswithan unwelcoming community ofvillagers.Thewritingpresentsthematicparallels to the filmand lamentsontheartist's complicated positionwithspiritualityandsecularism.

NOLAN HO WUNG MURPHY:

Nolan HoWungMurphy isa Chinese CantoneseHongKongAustralian artistlivingon Dharugcountry, workingacrossphotography,inkpaintingand mixedmedia. Theirpracticeiscompelledby tensionsand blursofculture, family,selfhoodandmigrant identities. Throughphotography,their workoftenfinds itselfinvestigatingspacesthatare metamorphic,in-betweenandgrey.

Nolan'swork hasbeenfeaturedatFirstdraft, Kudos Gallery,AD Space, Good Space, Runway JournalandTzedekCollective's 'Artin Solidarity'artauction.

Instagram: @nolanmchly

,,AuntyMo Si"

2022,photographic portrait, 53cmx 73cm ,,Untitled"

2022, photographic portrait, 23cmx33cm

,,Aunty's Painting"

byMoSi Chan, n.d., ink on paper, 52cmx 52cm

MyAunty Mo Siquietly passed away in2018, leavingbehind acollectionofpaintings that havebeenexhibited orshown publicly. Here, inmy photographtitledAuntyMo SiIsit with herworks, sowemay meetforthefirsttimeasartists.

Accompanyingmy photographisanoriginalpaintingby myAunty. Featuringamountain side, treesand alone individualwalkingacross abridge, intheright hand comerof the painting, features calligraphy writtenby my grandfather.

novaMILNE:

novaMilneis atwo-personartist formedbyanintimatelynegotiatedlanguagespanning theyearssincemeetingas teenagers.Witha distinctapproachtorecoreographingtime and movementintheirvideo-sculptures, theirworkalsoincludesperformance, movement notation, drawings, andrestorativeacts.Theirprocessoftenbeginswitha feelingthat somethingfound; anobscure recording, a pieceof biographical ephemera, orsome micro-historical minutia, isemittinganurgentplasticity. When they assemble agesture, orencounter, it usuallytransgressesabreachoftime.

Website:https://www.novamilne.net/ Instagram: @nova_milne

,,OutOfPrint"

1994/2017 - ongoing, collection of altered secondhand / ex-library books and periodicals of the work of artist collaboration CHRISTO AND JEANNE-CLAUDE published between 1961 and 1994, magnesium block, foil, self-inking custom rubber stamp, archival book cloth, board, date attribution, dimensions variable

Out OfPrintisanongoingre-archivingactionmade inresponsetoan anomalyinthe careerofartduoCHRISTO &JEANNE-CLAUDE.

Whiletrawlingthelibrarystacksduringtheirartschooldays, novaMilnenoticed inconsistenciesintheattributionofJeanne-Claude'sname inprint.Circa1994, artworks previouslypublishedandattributedtothesingularartistCHRISTO startedtobe credited with the inclusionofhis partner's name JEANNE-CLAUDE, officiallybecoming thereafter 'CHRISTOAND JEANNE-CLAUDE'.Notably, the couple claimto haveworkedtogether since1961.

ForseveralyearspriortoCHRISTO & JEANNE-CLAUDE'sdeaths, novaMilne hasbeen casuallycollectingsecond handandex-librarybookspublishedpriorto1994.Most now, are out ofprint. Inarestorativegesture, novaMilne pressa foil stampon the frontcovers with 'andJeanne-Claude', andrubberstampaninternalpage, indicatingthe dateof their intervention.

PhuongNgoisanartistliving andworkinginMelbourne,Australia.Hispracticeis concerned withtheinterpretationofhistory,memory andplace, andhowitimpacts the individual andcollectiveidentity oftheVietnamese diaspora. Througharchival process rootedina conceptualpractice, heseeksto findlinkages betweenculture, politicsand oral historiesand historicevents, whichintumdictatesthemateriality ofhis artisticoutput. He isrepresentedbyThisInNoFantasy and hasrecentlyheld asoloshow atThe Substation artcentreinNewport, Melbourne.

Website: www.phuongngo.art Instagram: @pthngo

,,AWorld

Vision"

2022, film, 4:15 minutes

A World Visionrecontextualises GabrielVeyre's 1889film 'Enfants annamitesramassant des sapequesdevantlapagodedes dames'tocommentoncontemporaryissuesof imperialism, charity andforeignaid. Borrowingitsname fromevangelical Christianaid organisationWorldVision International, theworkaimstochallenge acts ofcharity andaid, suggestingtheirdeepconnectionto colonial andimperial practices.Asloweddown version ofVeyre's filmispairedwith thesong 'FeedtheBirds' fromDisney's 1964 classic 'Mary Poppins'.

Theworkrelies oncinematicnostalgia todrawtheviewerinto anuncomfortable, yet familiarplace. Inpairingthese twoelementsA World Visionseekstoalterthereading of Veyre's film, makingwhatwas already an uncomfortablevisual evenmoreuncomfortable bylayeringitwiththe orchestral drama ofFeedtheBirds.Theadded nuanceofferedby slowingdownthefootageto halfthespeed, furtheralterstheoriginalfilmholdingthe viewersgazeontheactionsofthesewomen, whilereturningsome agencytotheunnamed 'natives', whoarenowidentifiableaspeopleandnotpigeonsscurryingforcrumbs.

Theworkdrawsattentiontotheobviousracialnatureofcolonialism andweds itto contemporaryphilanthropicpracticesthat arerootedin Christianityandcapitalism.The collaging ofsound andimage isdesignedtocreatean unsettlingcontrastthatreliesonthe viewer'snostalgia.Bycreatinganuncomfortableexperiencefortheaudience, thework asks themto questiontheirownhistoryofcharity andcharitablehabits, recontextualising the imperialist natureofnon-for-profits whooperate in the Global South.

,,Bull Hom CakeResearch Centre"

2020-ongoing, bull horn cake, archive box, varnish, tissue paper, cardboard tag, ink, dimensions variable

TheBullHorn CakeResearchCentre (BHCRS) isanarchivedocumentingtheVietnamese diasporathrough itscolonial past. Theprojectentailsthe collecting, preserving, tagging, andcataloguingofBullHomCakes (croissants) fromVietnamese bakeries. The research centre isa portrait ofthediaspora, ofthe labourandbusinesses oftheVietnamese communityandofhowthe colonialbaggage thatwecarrywithus can beco-opted, transformedandmade our own.

RAINER CIAR:

Rainer Ciar (he/they)is amultidisciplinaryartist, writer, and freelanceillustratorlivingand workingonDharug Country (Western Sydney).Their diversepractice includes sculpture andinstallation, illustration, writinganddigitalartmaking.Primarilyinterestedinexploring theconcepts of isolation, comfort, nostalgia, and fantasy, Rainerrelates hisworkto his own experiences ofgenderandyouth.Playing withvisibilityandabstractionin hiswork, heis interestedinthenarratives andrelationshipswoven betweenobjectsandrevealingtheir inner worlds toanyonewho wishestosee.

Rainer holdsaBachelorofFineArts(Honours)atUNSW, andhaswrittenfor Framework andexhibitedwithKudos Galleries, PariandFlow Studios.

Website: www.rainerciar.com Instagram: @rainerciar

,,MAGICAL LEXICOGRAPHICAL:

Words on Art, Motion and the Internet" 2022,AS zine, $7 each

MagicalLexicographical: Words onArt, Motion andtheInternetisaglossaryformy artmaking.Exploring thenatureoftheoldinternet, myinterestsinit, and thereasonsI makeartwork, Iwanted to dwellinthemess ofnostalgiaasI looked towardsfutureart practicesformyself. Howcan Ipickupthepiecesof fantasyandforbiddenknowledge foundindigitalarchivesand memories? Howcan Ituminwards and makemyinner worlds tangibleforotherstosee?Wheredoes mybodylie?AsIthinkabout mysolitary formsof makingand thepoints ofconnectionsbetweenother peopleandplaces, Itracedigital echoesandsitwiththenoisymachinesthatfacilitatetheseconjunctions.Ithinkabout motionand making, andaboutwhatitmeans tomeand thepeoplewhoencounterit.

This piecewasoriginallywrittenforFrameworkCollection#35 Mythic andperformedat Fatal Crush, theessayisalsobeingreadat Unboxed/Lahtipakitudopeningnight.

,,Personal Pieces" 2022, collection ofobjects (figurines, orb, air dryclay, satin, ceramic, beads)

AccompanyingMagicalLexicographicalis asuiteofobjectsrangingfromartworkto foundpiecescollectedovertheyears.Aspartofareflectionon myownpracticeand the slow accumulation ofthingstodraw knowledge andpoweron, I present analtar encompassingobjectsthatmeanamyriadofthingsto me.

TIYAN BAKER:

TiyanBaker (she/her) isaBidayuh-Angloartist whoworkswithvideo, installation andphotography.Herpracticedrawsonhistorical research, languagereclamation, digital processesandmaterialplay toexplore embodiedBidayuh histories and subjectivities.

By piecing togetherlanguage, landscapeandstory, herpractice celebrates Indigenous knowledgeandexplorestheirradicalpotential toupendWestern ideologies. She was born andraisedon the Larrakia landsknown asDarwin andcurrentlylivesandworks on theAwabakalandWorimilandsknownasNewcastle,Australia.

Website:https://tiyanbaker.com/ Instagram: @_titanbaker_

,,maanun (found all overthe place

inplenty)"

from series ,,nyatu' maanun mungut bigabu", 2021, digital autostereogram print on cottonrag, 19cm x 30cm

Partofa seriesoffour, thisphotographicprintfeaturesanimagestakenonBidayuh nativelandsin Sarawakon Baker's ancestralfarmlands.

Thisimage isanautostereogram, alsoknownasaMagicEyeimage, anostalgic opticalillusiontechnologythatwasverypopularinthe 1990s during theartist's childhood.EmbeddedinthisimageisaforgottenorrarelyusedBidayuhwordsthat isaboutwandering, collectingandforaging.

SerianBidayuhlanguagehas hundredsoftermsforactivitiesthatspeaktoadaily rhythmofmoving throughthejungle andworkingintimatelywithplantlife.In currentsemi-IndustrialisedBidayuhsociety, thesewordsare almostneverusedand havebeenleftbehind.Thisseriesofimagesare incantations toevoke the old knowledgethesewordshold.Theysuggestthat ifwelearntoseethenaturalworldin aslightlydifferentway, wecanaccessanotherwayofknowingandmoving.

,;The Ever-Wet Zone" 2021, printedA5 zine

TheEver-WetZoneisazine thatusesimagestakenonBidayuhlands.Itbrings togetherIndigenousstories, ecosystemresearchandcolonial histories from Borneo toproposenewwetwaysofthinking, movingandbeing.

a. AgusWijaya b. AisyahAaqilSumito c. AstridElouise Bell d. AuliaYem e. BilliePosters f. BlakeLawrence g. ClareMilledge h. David Suyasa 1. DylanGoh J. Geirthana k. HannahRoseCarroll Harris 1. Judith Martinez Estrada m. KateMcGuinness n. LachieThompson o. Lachlan Bell p. LoraAdzic q. LoveClub r. MaiBuchert s. MaiLehtsalu t. NicoleCadelina u. Nolan HoWungMurphy v. novaMilne w. PhuongNgo x. RainerCiar y. TiyanBaker

This exhibitionwouldnotbepossiblewithoutthegenerous assistance frommanyhands whohelpedbehindthescenesto makethisareality. ThankyoutotheSydneyEstonian HouseCo-operativewhoallowedmetorun aneventinthis spaceduringatimeofprecaritysurroundingthe future ofthis partofthebuilding. Ihope thisshowoffers analternative towhatspaceslikethese canaffordcommunities. ThankyouArc @UNSWArt& Design forallowingmeto printcopies ofthisbookletoncampus. BigthankstoMarleena Oudomvillay, LiamBlack, OscarDavis, KirstiBarrow, Maie Barrow, GilesParker foryourhelp throughoutandthankyouMum (MaiLehtsalu)forallthe help throughoutand beinga constantsupporter, andVanamamma (Malle Lehtsalu) forlendingyourcarthroughoutthe installprocessand alsobeingmyunintentionalmuse. Lastbutnotleastthankstoallthe participatingartists foryourwillingnesstojoinandbeapartofthisbriefmomentand in alsoofferingupyourwork, yourstories, yourtime, labour and love ofyourcraftforthis show.

Graphic designbyLachlanBell