SAME BEDS DIFFERENT DREAMS - Exhibition Catalogue

SAME BED DIFFERENT DREAMS A Blenheim House Exhibition

In the spirit of reconciliation, we would like to acknowledge the Gadigal and Bidjigal people of the Eora Nation, the Traditional Custodians of this unceded land upon which this exhibition takes place. We acknowledge their connections to land, sea and community, and pay our respects to their Elders; past, present and emerging. We extend that respect to all Aboriginal and Torres Strait Islander peoples today.

This always was, and always will be, Aboriginal land.

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SAME BED DIFFERENT DREAMS August 20 - September 2

Artists

Zi Qin Sarah Ong Eric-Michael Hoenig Em Best Tony Tran Nic Narapiromkwan Foo Jess Sand Adriana Beukers Eva Payne

Oliver Pike Ash West Joshua Chek Cassia Glynn Bray Owen Redmond Adrian Mok Felixe Rives Kumiko Delaney Serafina Accetta

Gallery info

Blenheim House 17 Blenheim Street Randwick, NSW, 2031

Website

Opening hours Thursday to Sunday 11:00am-5:00pm

Fiona Alyssa Alzamora Nic Madeley Lachlan Thompson Othy Liam Houlihan Nicole Cadelina Maya Gardiner-Mullins Zoe Pastiokostas

randwick.nsw.gov.au

Contacts and socials arts@randwick.nsw.gov.au @randwickcouncil

Supported by

@samebeddifferentdreams

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SITE HISTORY Blenheim House was constructed in 1848 by Simeon Henry Pearce, the first Mayor of Randwick.

Made of sandstone and cedar, the three-storey house contains a rich history; having been the site of the last foxhunt in Sydney, and the first Anglican service in Randwick. It had entertained Governor Fitzroy, and the Anglican archbishop of Sydney during Pearce’s residency.

By the 1950s, the house was said to be in a state of decay and in the 1980s it was bought with the intention to be demolished in 1983. However in the following year, it was purchased by Randwick City Council. The Friends of Blenheim House group was established in 1989 with the aim to lobby for the restoration of Blenheim House. The Friends leased the building from Council in 1993 for 25 years, and it was eventually restored by David Bailey, a heritage architect.

An application for development was created in early 2022 to transform the building into a site for artist studios and exhibition spaces, with the aim of ‘open[ing] up this under-utilised space to the community.’ This decision was catalysed by Randwick Council’s recently adopted Arts and Culture Strategy.

The council’s vision is for the Blenheim House to ‘become a place where art is created and enjoyed.’

Interested in learning more? Visit the Randwick City Council website for more info - be sure to follow their socials for the latest updates and opportunities.

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randwick.nsw.gov.au @randwickcouncil

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THE EXHIBITION

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The Blenheim House – a house that haunts and howls; walls that decay and dissolve; histories resurrected, undone, estranged, erased, and revised. It ruminates and cycles. It unfolds and folds, comforts and discomforts. It utters and whispers, shudders and mutters. It speaks to itself, to no one, out loud and in silence. Between these walls, we tether ourselves to this sunken bed that reeks of dampened cries and cotton dreams.

Same Bed Different Dreams is an exhibition that moves in murmuration, bound by difference. Held on unceded Gadigal and Bidjigal land (Randwick), each artist responds to the Blenheim House by virtue of eclectic poetics and praxis – from decolonial unravellings and Asian architectures, to comforting nostalgia and speculative myths. Upon arrival, one will encounter a polyphony of gestures and textures. Luxury fruits. Primordial parasites. Neon effigies.

Microwave apartments. The salt of the occult. There is simply no telling what these dreams may behold to the sobering eye.

They speak to us, these curious tongues. Hush, listen now – what do these walls tell us?

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ZI QIN I See Convex mirrors, gas connector, concrete, steel rod

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You always see me before I see myself.

SARAH ONG Bamboo Scaffolding Bamboo, jute, sandbags

Bamboo Scaffolding is an outdoor sculpture made out of bamboo sourced from onsite and the artist’s home.

Bamboo Scaffolding draws the focus on using bamboo for combatting the environmental impacts of urbanisation. The construction of the work draws inspiration from the industrial use of bamboo scaffolding primarily used in Hong Kong and contemporary Vietnamese bamboo architecture.

The sculpture is also responding to the future reconstruction of Blenheim House into an arts and cultural centre. A good foundation and scaffold must be used to make this centre a place for positive, impactful and lasting change to the community.

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ERIC-MICHAEL HOENIG

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Periaptic Network

The Periaptic Network presents a series of six sculptures of salt crystal set in steel armatures that form a network of talismanic objects, offering safety to those entering the Blenheim property.

Salts, steel, chenille

Salts have been used across cultures as a naturally occurring tool for protection and preservation. These salt crystals are cultivated and employed as nodes in a network of protective occult artifacts.

The term “network” here is significant as an antithesis to “boundary”: a network permeates and connects rather than demarcates. This challenge to the concept of borders illustrates the artist’s broader practice, which invokes pagan and occult rites and symbols as an antidote to imperialist cultural paradigms.

OWEN REDMOND The time of your life Found objects, video

Informed by the myth of Atlantis, this piece ponders the enigma of lost societies and the hidden secrets that are held within mythical stories.

Through time these speculations dilate and leak throughout the public consciousness, becoming structures for how we envision our world as being. This search for utopia is never ending and always just out of reach, reflected in the lost world you stare at.

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EM BEST Saprophyte

The saprophyte is an organism that feeds on that which is dead or decaying. The saprophyte needs nothing from you. All you have to do is die.

Ceramics, mixed media

This work arose from thinking about the term ‘Heritage Listed’, and the perceived immortality this gives to buildings such as Blenheim House. The bureaucratic processes taken to preserve pieces of history doomed to rot are, essentially, just a coping mechanism to avoid the inevitable. We can see this at Blenheim House. The wallpaper peels, doorways collapse, the asbestos in the roof festers, the lead paint cracks and flakes. And deep in the basement, nestled in the incessant damp, grows clusters of tiny, round fungi. This project came from thinking about decay, and how regardless of the bureaucratic processes put in place to extend lifespans, everything must decompose in the end.

These sculptures embrace this decay, slowly but surely creeping out of the walls and floors to swallow the house whole. They serve as a reminder of the weakness of white Australian superiority and ridicule the attempts made to resist the pull of rot. The colony, the house, the monument, the law.

Everything must come to an end.

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TONY TRAN Ornafanum-Ignis 3D printed filaments, light

Ornafanum-Ignis is a sculptural installation work exploring a renewal and distortion of amalgamated mythological and spiritual iconography of deities rooted from pan-asian and greco-roman cultures. The methodology of the work involves 3D modelling and printing that experiments with digital abstractions of recursive figurative and organic forms, resulting in an intricate concoction of an altar-like display.

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NIC NARAPIROMKWAN FOO Untitled Video, projection, performance, found objects

Growing up in “Australia”, the artist moved house five or six times. Since living independently, the artist has moved another three times. Each time, her mum would lead in practising Thai and Chinese homemaking rituals to give thanks, to protect and to ensure happiness, health and good fortune. The artist practises these rituals at Blenheim House as an interruption – one that is necessary to belong to the site, space and context – paralleling her parents’ ongoing efforts in belonging in a host society with a dominant monoculture.

Untitled (2022) documents the artist’s embodiment of her parents’ labour as immigrants. It is a collaboration with them through the inheritance of knowledge.

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JESS SAND Magdalena Reclaimed fabrics, acrylic mediums

Drawing on her family’s migrant heritage, Jess aims to depict the essence of her late grandmother through the process of soft sculpture making.

Using the remnants of notes and text, Jess has strived to honour her grandmother’s life, as well as portray the inner peace and safety she received upon arriving in Australia. Jess draws inspiration from artists such as Mirka Mora and Marc Chagall, who also mimic dreamlike sequences and figures as an avenue for storytelling. Over the course of her practice, Jess has used reclaimed domestic textiles that are culturally charged and symbolise her connection to her family’s culture.

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ADRIANA BEUKERS Heart on my Sleeve Clay

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Heart on my Sleeve is an interactive artwork that invites audience members to become active participants and creators. Audience members are encouraged to draw on the provided clay hearts, a picture that depicts something sentimental or personal to them. These hearts are then placed on display for the duration of the exhibition. This piece coaxes audience members to let their guard down through the creation of the artwork. In putting their hearts on display, the artist hopes for the audience to find strength in their vulnerability and be able to observe how the human nature of our vulnerabilities provide a common thread among society.

EVA PAYNE Dust Porcelain hand-made surgical abortion tools, sound, projection

On the 24th of June 2022, the court case enabling women access to safe abortion, Roe vs. Wade, was overturned in America. Unsafe abortions claim 13% of all maternal mortality rates, which will increase due to legislation. While women currently have access to abortion in Australia, this is not always guaranteed. NSW only decriminalised abortion three years ago; in WA it is still under criminal code, and there are still financial impediments.

The artwork thrusts the audience into an uncomfortable environment and blames them for it. Each cacophonous crunch is emblematic of and projects the injury inflicted upon bodies with uteruses when confined by inhumane legislation. Recontextualising the topic of reproductive rights into the Australian landscape, Dust forces the audience to adopt the role of the bystander as they walk over and destroy ceramic surgical tools used to perform a safe abortion.

Ultimately, the work translates to protest and a call to action. The audience’s destruction of objects integral to knowledge and rights indicates neglect of action in the community; situating the audience as accountable as bystanding is thus underlined as a form of participation and violence.

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OLIVER PIKE timelines Naturally dyed fabric

The purpose of a timeline is to outline what has happened in the past to ensure an improved form of communication about ‘actual’ events. Yet, we only see what has been put on that timeline. What we cannot see, we cannot know. timelines is an installation that holds the natural colours from the earth surrounding Blenheim House; pressing the history of the local area into the fabric, creating a somewhat traditional scroll timeline. This work places the knowledge of the past in the viewers eyes for them to see the truth, allowing people to see the two timelines working concurrently: both the eurocentric settler and the hidden Bidjigal and Gadigal timelines.

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ASH WEST Parasite Found objects, apoxie sculpt, ‘fake skin’ (gelatin and glycerine)

The skin is merely a permeable boundary separating the body from the world.

Uniting concepts of the body and its relation to the world with parasitism, this work considers the parasite as a primordial, one-way relation at the base of all human interaction. Particularly interested in the way the parasite plays guest, this work uses the meal and dining space to mimic the interchange between guest and host; plumbing the depths of human existence and the obscure revolts of being. Examining how the boundaries between self and other are transgressed when a space is overtaken by the body, this work asks: what comfort does he find in his disgust?

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JOSHUA CHEK Garden White plastic PLA filament

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Garden features over forty 3D scanned and printed flowers from the home of the artist’s grandfather. The artist’s grandfather endures dementia. The low-res flowers are the artist’s attempt to represent the way his grandfather would see them, a new object, each time. The whiteness of the flowers growing inside the house also speaks to the perversion of the disease, affecting people inside domestic spaces.

CASSIA GLYNN BRAY To Infinity Acrylic, LEDs, ceramic

See inside my dreams Hold me to infinity I’ll hold you back

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ADRIAN MOK Q/AR Shrine LED strip, website, augmented reality, found Taoist shrine objects, sound

Q/AR Shrine is an installation that imagines a Hong Kong Taoist shrine set in the future, and the neo-worshipping practices that may be conducted. Here, LED effigies of Taoist deities are prayed to; religious ornaments are figments of Augmented Reality; and kau chim (求签) a divination ritual used for fortune telling, transmutes into a digital ritual performed through smartphones. Visitors are invited to interact with the AR components of the shrine and participate in the kau chim ritual via the QR codes provided to fully activate the installation.

This artwork intends to subvert the Anglican Church services historically carried out at Blenheim House – when Simeon Henry Pearce was in residence – with an Eastern institution and its imagined future liturgy. In doing so, it intervenes into the heritage architecture and interior of the house with modern technology and reimagines the current residential function of the space with inserted worshipping and fortune telling purposes.

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FELIXE RIVES $129,155 in space Microwave lighting, cardboard

This work aims to create a discussion on the spaces and furniture within our homes and our relationship to it. The playfulness of the miniatures and interactive lighting creates a positive environment of play while discussing concepts of space, relations, economy and sustainability.

This work, developed during intensive lockdown, addresses the relations we have missed between strangers. The reflective surface invites the audience to be aware of themselves in the space and their relations to others around them. This highlights the importance of personal private space when stuck at home. It also shows how our relationships to furniture and objects within the home have and may change through time and circumstances.

All the appliances in the work are broken and were saved from the junkyard. Most of the appliances were picked up from the streets over the span of a few weeks. The miniature furniture inside the microwaves are predominantly made from recycled materials used in the packaging of real furniture. When access to public spaces has become limited, the private space gains more importance and with it the awareness of its cost which has risen rapidly. $129,155 would be the estimated price of the work in real estate from the floor space these appliances would occupy.

Promoting recycling for a more sustainable future, Rockdale-based company Scrap Metal Group proudly supports Felixe Rives’ artwork $129,155 in space. (www.scrapmetalrockdale.com.au)

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KUMIKO DELANEY Forbidden Fruit (禁断の果実)

Inspired by the Japanese queer population, Forbidden Fruit (禁断の果実) explores queer inequalities and restrictions through the luxury fruit industry of Japan, as well as aspects of ‘shunga’ art.

Luxury fruits are gifted in Japan as a sign of deep respect, loyalty and

Ceramics, air dry clay, ribbon, chain appreciation. Growing up half Japanese in Australia, I tend to compare the two countries socially and politically. This installation is also a showcase of my appreciation for my two cultures as well as the difficulties I have avoided as a queer woman by growing up in Australia.

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SERAFINA ACCETTA Blenheim Bubble Bathtime Bonanza Expanding foam, enamel paint

Blenheim Bubble Bathtime Bonanza playfully imagines Blenheim House’s first owner and the City of Randwick’s first Mayor Simeon Henry Pearce as if he had never left. The installation allows the audience to engage with Pearce as he completes the mundane motions of life. The installation pervades the private space of the bathroom, allowing the audience to engage with the work in a new and intimate way.

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FIONA Restricted Ceramics, found objects

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You are restricted from viewing this wall text.

ALYSSA ALZAMORA Come With Me Cotton/linen, acrylic paint, glowin-the-dark decals, cotton thread, pillows

Come With Me is an interactive piece that invites the audience to engage with the artist’s individual experiences and memories of childhood.

Audience members are encouraged to immerse themselves within the artwork and to allow themselves the opportunity to reconnect with their inner child.

Sit down, grab a pillow, and lose yourself in a world of your own imagination.

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NIC MADELEY Hidden in Plain Sight Ceramics, found objects, nails

“Grandmother, what big arms you have!”

“All the better to hug you with, my dear.”

“Grandmother, what big legs you have!”

“All the better to run with, my child.”

“Grandmother, what big ears you have!”

“All the better to hear with, my child.”

“Grandmother, what big eyes you have!”

“All the better to see with, my child.”

“Grandmother, what big teeth you have got!”

“All the better to eat you up with.”

And, saying these words, this wicked wolf fell upon Little Red Riding Hood, and ate her all up.

- Little Red Riding Hood by Charles Perrault, 1697

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LACHLAN THOMPSON A Speculative History of the Fox Hunt

Returning to the last fox hunt in Sydney, which took place at Blenheim House; the lack of detail around this event calls for speculation.

Mixed media

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OTHY Paper cast and retroreflector test 5 Retrofector, cast paper

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This work is an example of my experiments in expanded casting as recycling, where I utilise contemporary art practice as a kind of pseudoreligious recycling practice of care.

LIAM HOULIHAN Bad Writing Machine

The Artist got into big trouble and was made to write lines. He got a machine to do that for him instead.

Pen plotter apparatus, paper, ink

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NICOLE CADELINA The End, Probably Plastered books, readymades, poetry

“This is the way the world ends Not with a bang but a whimper.”

– The Hollow Men (TS Eliot, 1925) We are haunted by futures that fail to happen. We meet our demise when we listen to pop songs disguised as 80s hits, discard the rusted hammers and sickles in our working-class lives, and iron out the sad crevasses of millennial nostalgia. Like a parasite, the past strangles us for dear life. It demands our attention in a jaded world of self-serving, dispirited freedoms. For better or worse, these ghosts of history seep their way into the suffering folds of late capitalism.

I am confronted by burning memories I have not lived and breathed; have feared to live and breathe. Blunt traumas. Resurrected bodies. Camcorder strips. A crackle of vinyl. Dreaded walls. Empty dreams.

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Through these plastered books, my work summons the ghosts of Jacques Derrida, Robert Bresson, and Mark Fisher. It imagines the only viable plan for the future — an apocalyptic scene in which knowledge is calcified and defunct; lost in time, gone, and long forgotten. Without a future to pray to, all hope, for now, remains unhinged until further notice. This is the end, probably.

ZOE PATSIOKOSTAS Back Then

Following the decisions made by National Cabinet, NSW Premier Gladys Berejiklian confirmed the shutdown to protect NSW citizens.

Bed, mattress, sheets, desk, computer

“I understand many in the community are worried, and these changes will affect everyday lives, and may be upsetting,” Ms Berejiklian said.

“But these decisions will make us all safer, they are taken with the health of all citizens in mind, and they must be taken now.”

“If you have the capacity to work from home, you should do so.”

“If we all help slow the spread of COVID-19 in our community, the healthcare system will be better able to look after those who do get sick.”

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MAYA GARDINER-MULLINS Friends of Blenheim House

Friends of Blenheim House is a work that aims to focus upon the importance of friendship as a support structure that requires reciprocal restoration and care.

Ceramics, two TVs with sound

The artist invites friends to join in and collaborate by making ceramic cups to be used and shared within the community.

The project is an ode to the 1989 “Friends of Blenheim House” group that was formed with the aim of seeing the building restored and put to practical use.

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ABOUT THE ARTISTS Zi Qin @leonqinnn Zi Qin (b. 2000) is a multidisciplinary Chinese-Australian artist based in Sydney.

With living experiences in both China and Australia, social and cultural sufferings form the key inspirations of his practice. Evoked by constant frustration, he captures the unspeakable relationship with others through pastel drawings, and explores the tension between humour and impatience of a generation. If drawing is his way to understand his own subconscious, then sculptural installation is his response to the past. By reconsidering the existences of daily objects, he recontextualises such materials into an image of urban loneliness.

Eric-Michael Hoenig @pureid_ Through sculpture, sound, text and drawing, Eric-Michael Hoenig’s practice attempts to apprehend the unseen forces that give rise to meaning in our experience of the everyday. From electricity, sound and magic to psychological phenomena and semiotic chains; the intangible presence of these structures scaffold our notions of reality.

The artist’s current fixation is on rites and symbols that make up the canon of the western occult tradition. He focuses on how this counterculture, which collages various elements from eastern and western metaphysical traditions, offers an inclusive resistance to dominant power structures.

Sarah Ong

Em Best

@lilies_in_the_mud

@em.best

Sarah Ong is a Chinese-Malaysian-Vietnamese-CambodianAustralian artist living in the unceded land of the Bidjigal people in Southwest Sydney. She engages with the experimentation of organic materials not exclusive to paper, timber, bamboo, rice paper and methods of rigorous physical labour, which translates into sculptures.

Through her sculptural practice, Sarah investigates the connection between her heritage and role as a young emerging contemporary artist in Australia.

Em Best is a multi-disciplinary artist living on the unceded Wangal land of Sydney’s inner-west. She is fascinated with anything unsettling, off-kilter and portals into alternate dimensions. Her sculpture work often references the natural, destructive life cycle of capitalism and the devastation it leaves behind. They lament for something softer, more gentle, something perpetually out of reach.

She hates mushrooms.

Sarah is currently a third year student at the University of New South Wales, studying a double bachelor’s degree in Fine Arts and Psychology.

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Tony Tran

Eva Payne

@ornaroco

@evamaesart eva-payne.com

Tony Tran is an artist…

Obsessed with intricate patterns and forms, he yearns to imbue his sculptures with numinous affects, intertwining his ‘pan-asian’ and westernised culture within Sydney, working on unceded Darug & Eora land. His practice is informed by a quest to seek out new signifiers through abstracting anthropomorphic representations that renew and distort iconographies and traditions of divinity, classicism and the spiritual. He flirts with the concept of techno-animism through working with digital modelling and printing.

Nic Narapiromkwan Foo @pistachiobowl Nic Narapiromkwan Foo is a Thai/Chinese-“Australian” artist; making, writing, and learning on unceded Gadigal land. Her work embodies the shared immigrant labour — both manual and emotional — of her parents.

Jess Sand Jess Sand is an Australian based artist whose practice revolves around the transformative qualities of textiles and fabrics. Having used various mediums across her works, Jess centres on the power of storytelling and dream-like narratives. Concerned with issues of family, culture and heritage, Jess uses her work as not only an avenue for selfexpression, but depicting the lived experiences of those closest to her.

Adriana Beukers Adriana is a multi-disciplinary artist who lives and works on Dharawal land. She works in cathartic artistic processes to explore how art can be utilised as a form of therapy to reconcile emotions and to depict personal histories. She does this through the form of self-exploratory works that ponder on her memories, and interactive works that invite the audience to connect with their own emotions.

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Eva Payne is an emerging Australian artist living and working on unceded Cammeraygal land. She is a multidisciplinary artist that mostly works with sculptural installations. Weaved with satire, her works are concerned with the political; exploring how the body, brain, gender, sex and sexuality, and the changing nature of religion are intrinsically related to such. The aforementioned functions as an instrument to confront and inform her audiences.

Inspired by abjectness and performance and installation art, she is drawn to immersive artworks that interact with the viewer both intellectually and physically. Through her work, she hopes to provoke questions regarding the structures of power and collective thoughts that govern our lives and actions.

Oliver Pike @wiradjurartist99 Oliver Pike is a proud Wiradjuri Ngemba artist from Central New South Wales. He currently sits as the Chair of the ARC Board, and holds positions on many other Indigenous committees and working groups. Through sculptural installations, film photography, and sound production, he addresses continuing and arising concerns within the Indigenous communities of Australia.

Oliver’s practice dives into the traumatic past of this country and brings to light knowledge and guidance for all audience members. Having strong connections to local elders across the country, he aims to speak the truth about his culture and peoples.

Ash West @hellolittlegoblin Ash West is a multi-disciplinary artist living and working on unceded Bidjigal land. Her practice is motivated by the experience of abjection, that which threatens the individual’s boundaries of self and reminds us of our animalistic origins. Her sculptural works grapple with the idea that humans have an inborn corruption, whereby the self can be polluted, defiled and contaminated. Through her focus on the body and fascination with its grossness, she plumbs the depth of what it means to be human and not animal.

Joshua Chek

Adrian Mok

@joshuapchek joshuachek.com

@art.runningamok

Joshua Chek (b. 2002) is an Asian-Australian photographer and sculptor working on Cammeraygal land. His works are based around attempting to document and capture the memories and experiences of others, often related to dementia and the decay of memory, as well as suburban voyeurism and the lives lived out behind closed doors.

Cassia Glynn-Bray @cassia.does.art Cassia Glynn Bray is a multimedia artist based on unceded Bidjigal and Gadigal land.

Her work explores a range of topics, including mental health and themes of childhood and home. Through the juxtaposition and overwriting of optical illusions, colours, and found objects, she creates confessional pieces that are contemporaneously playful.

Cassia frequently utilises materials with heavy, sharp qualities in order to bring an undercurrent of danger and harshness to her work. She is drawn to delving into her own lived experience as the foundation of her artistic practice. Her lived experiences as a non-neurotypical woman are particularly important to her practice.

Owen Redmond @owenonart

Adrian Mok is a Hong Kong-born Australian artist based in Sydney, living and learning on unceded Bidjigal land. Through his practice of expanded drawing and room-based installation, he engages with reinterpreting and recontextualising aspects of Chinese culture and traditions, with a particular fixation on rituals. His current interests lie in mythology, decolonisation, and disparity.

Combining sound, light, and unconventional objects, the artworks formed underlie the artist’s physical, labourintensive processes, and intended spectacle aesthetic, despite its rudimentary, almost child-like outcome.

Felixe Rives @felixe_rives Felixe Rives is a French-Australian emerging artist located on unceded Bidjigal and Gadigal land. Her concepts and ideas are a response to her personal, day-to-day experiences in the world. She is interested in looking at the human relation in space, with the material and with others within the mundane.

Working mainly with installation and performance, she is interested in the human experience. She aims to build unique experiences for the viewer, occasionally adding an interactive aspect into her works which invite the audience to contribute to and build a strong relationship with her works.

Kumiko Delaney

“Each moment is absolute, alive and significant.”

(Cage, 1961, p.113, Silence)

@kumiko000o0 Kumiko Delaney (b. 2001) is an Australian-Japanese multi-disciplinary artist based in Sydney, living and working on Dharug country. With her practice lying mainly in sculpture and painting, Kumiko explores the subconscious, childhood, Japanese culture and queerness through her works.

Interested in surreal and grotesque aesthetics, she is currently in her third year studying a Bachelor of Fine Arts at the University of New South Wales, hoping to expand her practice and proceed to postgraduate study.

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Serafina Accetta

Nic Madley

@safarifinas_art_insta

@morticianorartist

Serafina Accetta is a Mediterranean-Australian artist practising in Sydney, Australia. Her practice deals with themes of cultural diaspora and the auto-biographical exploration of self as they progress from adolescence to young adulthood.

Nic Madeley (she/they) is a New Zealand artist working in Australia who uses ceramics as a way to translate their internal thoughts and conflicts. They predominantly explore themes of grief and trauma through the symbolic use of gore and horror. They use these themes to spark conversation amongst viewers of internal struggles faced by most individuals. They have the desire to confront and discomfort those who view their work; to shed light on topics most people wouldn’t discuss in public. Nic also examines the relationship between artist, artwork and audience, concentrating on finding a healthy balance between all three.

Accetta works predominantly within sculpture and performance as a means of materially bringing her explorations of self, love and family to life. Her works aim to allow the audience into the life and thoughts of the artist as she navigates her coming of age and the world we live in.

Fiona Fiona is a Swiss-Australian artist based in Sydney. Having grown up in Switzerland, she moved to Brazil in her early 20s and relocated to Sydney in her mid-20s. Fiona has been studying a double degree in Bachelor of Arts and Bachelor of Fine Arts at the University of New South Wales since her arrival in Australia. In her sculptures she thematizes capitalism, social structures, globalisation, identity, feminism and domestic life. Her creative practice focuses on the importance of materiality, object significance and space. By translating objects into other materials, she challenges the concepts and narratives commonly associated with these objects.

Alyssa Alzamora Alyssa is a Sydney-based artist working on unceded land belonging to the Cabrogal people of the Darug Nation. Alyssa’s artistic practice is based in her ongoing explorations of identity and understanding of self.

These notions emerge in her art through investigations into mixed cultural heritage, family and memory.

Her multidisciplinary practice invites her audience to understand the world from her point of view and seeks to evoke emotive, sentimental responses that resonates with the viewer.

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Nic looks for inspiration through the works of directors and artists such as, Greg Nicotero, Jessica Harrison, and Johnson Tsang.

Lachlan Thompson @lachie.t_ Lachlan Thompson is a Chinese-Australian artist living and working on unceded Gadigal Land. His practice has foundations in photography, which coincides with studies in Sociology and Anthropology. This informs interests in the production of knowledge as well as alternative means of thinking through methods such as making, experimentation and poetics.

Othy @othy_willis othy.hotglue.me Most of my friends describe my work as a pseudo-religious materialist meets queer ornamentalist meets a hegemonic naturalist meets climate prepper meets arts infrastructure sovereignty invigorator

Liam Houlihan

Zoe Patsiokostas

dot-zip.com

@a_zapped_universe

Liam Houlihan (b. 1998) is a sculpture/installation artist living and working on Wallumattagal land. Liam makes things that subvert the authorship of the artist and diffuse agency into the hands of the many. This is his way of coping with the possibility that his work will be an abysmal, inexcusable mess. It is also a means of exposing the economies of labour typically invisible in art production. His work tends to consider the desires and anxieties of young people and students.

Zoe Patsiokostas is a Sydney based artist living and working on unceded Dharug Country.

Nicole Cadelina @ni.muy

Through sculpture and drawing, Zoe has created works that explore various themes such as consumerism, global warming events such as coral bleaching, and mortality.

Her work is also a tool for self-discovery as many of her works also explore themes of personal heartbreak, family bonds and heritage.

She hopes to create a clear concept within her works, allowing the viewer to question the ideas presented, themselves, and the world they live within.

Nicole Cadelina (b. 1997) is a Filipino-Australian artist and writer based in Western Sydney. Working across sculpture, video, and poetry, her practice examines the nuanced and sometimes tense relationship between spirituality and self.

Informed by both personal and cultural epistemologies, Nicole explores these interrogations through gestures of reverence and love-comradeship (or, sometimes, the lack thereof ) – these gestures seek to disrupt and expose the present-day disillusion of (neo)liberalism and bitter secularism.

Nicole draws influence from the works of filmmakers, critical theorists, and poets, including Tsai Ming-liang, Gilles Deleuze, and Louise Glück. Her favourite genre of film is SBS World Movies after 9pm.

Maya Gardiner-Mullins @deliverygrl Maya Gardiner-Mullins is an artist living and working upon unceded Gadigal land. Her practice is focused on exploring friendship, support structures, and restoration through a practice in filmmaking and ceramics. She likes creative collaboration and dislikes writing in third person.

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OPENING NIGHT August 19, 2022

Hosted by Oliver Pike Welcome to Country Auntie Maxine Ryan Speeches Mayor Dylan Parker Consuelo Cavaniglia 40

Photos by Glenn Duffus

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CREDITS

Special thanks to

Allan Giddy Newell Harry Consuelo Cavaniglia Randwick City Council UNSW Art & Design ARC Student Life FBi Radio

Visitor engagement

Ash West Em Best Liam Houlihan Lachlan Thompson Nic Narapiromkwan Foo

Curators

Zi (Leon) Qin Eva Payne Sarah Ong Nicole Cadelina

Project managers

Eric-Michael Hoenig Adrian Mok Oliver Pike

Marketing & design

Tony Tran Joshua Chek Nicole Cadelina Kumiko Delaney Zoe Patsiokostas Nic Madeley Serafina Accetta Jess Sand Felixe Rives

Randwick City Fiona Council liaison Othy representatives

SAME BED DIFFERENT DREAMS Second edition: September 2022 Published by UNSW Art and Design Head graphic design by Nicole Cadelina Catalogue designed by Nicole Cadelina, Tony Tran, Joshua Chek, and Kumiko Delaney Site history by Eva Payne Exhibition statement by Nicole Cadelina Edited by Adriana Beukers, Alyssa Alzamora, Cassia Glynn Bray and Nicole Cadelina Catalogue photos by Nicole Cadelina except for page 10 (Eric-Michael Hoenig), page 14 (Tony Tran) and page 28 (Glenn Duffus) For print copies of this edition, please contact nicolecadelina@yahoo.com.au Front and back covers excerpted from In the Mood for Love ( Wong Kar-wai, 2000) Pages 6-7 excerpted from Mirror (Andrei Tarkovsky, 1975)

DEB EMAS SMAERD TNEREFFID noitibihxE esuoH miehnelB A