Over Here

over here

M o d er n is m

The Time of Our Lives

By Dr Anna Nazzari In an artist statement for Over Here, Anna Sabadini cites the first part of the opening sentence from L.P. Hartley’s novel The Go Between: “The past is a foreign country” ([1953] 2002, 17). She poignantly adds, “One, I want to visit.” For many of us, the past, as a potential destination, presents an exciting opportunity to experience preceding eras or encounter an infinite number of unrecorded, undocumented lives or histories, absent from our current understanding of the world. For Sabadini, and the other artists exhibiting in Over Here: Kate Campbell-Pope, Anne Walmsley, Elizabeth Riley and Kati Thamo, revisiting the past is not so much about discovering the unknown, but an opportunity to revisit the known. More specifically, to return to an instrumental time in their past when the art movement Modernism reigned supreme.

In the arts, Modernism is an especially challenging movement to describe as it has no fixed agenda, and is often defined by the elements it rejected: “linear narratives, idealization and academicism” (Prieto, 2009, 185). Its manifold approaches encouraged artists to foster “experimentation, individualism, self-criticism and self-expression” (185), which radically distinguished it from the religious and/or mythological ideology underpinning the art of the mid nineteenth century (and earlier). Modernism’s mandate, if it had one, was to be avant-garde: unconventional and innovative wherever possible. This open-ended directive encouraged infinite play with ideas and forms in which anything was possible.

Artists of this period, such as Pablo Picasso, Jackson Pollock and Marcel Duchamp are frequently held up as exemplifying this mandate through their rejection of realism and elevation of irony, parody and revision. I mention these male artists here, because it is hard to ignore that Modernism was predominantly a movement formulated and sustained by men, which, more often than not, overlooked women. While there are exceptions to the rule, such as Georgia O’Keefe and Helen Frankenthaler, most women working in this period, received limited attention and were routinely overlooked or absent from exhibitions. Taking this into consideration, you may question why five women artists, who appear to have come of age during Postmodernism, and are all currently occupying the status of contemporary artists, would consider Modernism as a potential destination to revisit.

For the artists, who fall into either the baby boomer or X generation demographic, Modernism’s tentacle-like reach was inescapable during their 1970s’ and ‘80s’ art educations. Perhaps this is indicative of the fact Modernism may still have been on trend; its demise is often speculated as occurring somewhere between World War II and the 1970s, or because of an educational lag in Australia, a country often missing the pulse of world trends, due to geographical isolation. Regardless of the reason, Modernism became an academic rite of passage in Australia and its diverse art platforms and spectrum of styles (realistic, surrealistic and abstract) pervaded schools, TAFES, university degrees, art courses, institutions galleries and publications. For the artists, this “pedagogical” popularity also coincided with a burgeoning feminism and, it is the overlapping of these two major forces that played an integral role in the formation of their identities as artists. In this sense, the freedom of expression promised to female artists, but never fully realised in the first half of the twentieth century, suddenly became more possible in the second half. As such, this formative place in time was both exciting and optimistic, and the proposition of revisiting it offers a way for the artists to once again reconnect with a significant time in their lives.

At this point, you may be speculating if such a journey is even possible. David Couzens Hoy (2009) notes in The Time of Our Lives – A Critical History, that we often think of the past as the present suspended in a sort of stasis. This idea is frequently explored in science fiction, where time travel is represented as a means of revisiting a time and place where what happened is still transpiring, much like how the present is unfolding now. It entertains the idea that the past is both fixed and something we have left behind.

Hoy suggests that this concept is not probable, for how can something that is fixed, or over, continue to structure the present?

For most philosophers and academics there is no such thing as the “past in-itself,” because there is no dialogue concerning the past that cannot be identified as an interpretation (Hoy 2009). In relation to the artists, if the past is not fixed, then perhaps revisiting it is more in line with what Martin Heidegger describes as Gewesenheit in Being and Time. Heidegger coins the term Gewesenheit to imply that a wide range of our past experiences still continue within the present. As an ongoing force in “our” lives, Gewesenheit is always in-progress and the meanings it generates are not guaranteed as certain. Thus, it offers an interactive and engaged way of being in the world but one that recognises any interpretation of existence is still open to possibility (Hoy 2009). Gewesenheit posits that the past does not simply expire, but is a constantly unfolding force, that affects both our present and our future. Hence, “where we are and where we are going is always a function of where we have been” (Sembera 2007, 193). Consequently, for the artists in this exhibition, revisiting the Modernism that defined their past is not symbolic of a miraculous bodily shift between two points in time; neither is it indicative of a nostalgic yearning or heartfelt memorialisation for a time that once was. Instead, it is an acknowledgement that the door to Modernism has never been closed and its endless interpretations always open.

As evidence of this open door, the exhibition documents an ongoing journey that charts the lived and conscious influences of Modernism within the artists’ practices.

Thus, the title Over Here is particularly applicable because it draws attention to a specific group of women, located in a particular place and period of time, documenting the progression of their individual journeys. Significantly, the work created for this exhibition is markedly different to what each artist created in her formative years. After all, they

are not trying to deny the fact that time has passed between now and then, nor capitulate to the idea that Modernism is dead. Nor are they interested in duplicating the work of famous male artists, or expressing an overly saccharine tribute to the ideologies underpinning Modernism. The exhibition is, however, in effect, evidence of a formulated response to an ongoing conversation with Modernism, that is, the movement, the artists and the artworks that infiltrated their psyches and travelled with them throughout their lives. It is important to emphasise here, that their response is not intended to be an adversarial one. While the artists’ creations respond largely to the work of male artists and/or sub genres within Modernism, it is never to eliminate or refute these dominant voices or styles but rather to engage in a dialogue that offers the possibility of multiple interpretations.

Much like their Modernist predecessors who frequently utilised everyday people, places or things as subject matter, the artists’ personal exchange with Modernism incorporates their everyday environments and their proclivity for craft-based activities. In this respect, an everyday “here-ness” is expressed through the place they all currently reside: Albany, which is approximately 420km from Perth, one of the most geographically remote cities in the world. It is in this distant, but picturesque part of the south coast of Western Australia, that stunning seascapes, unique granite formations and localised flora are transformed into real, surreal and abstract subjects. These subjects are interpreted, in the most part through fabric and stitch, and reference traditional craft practices such as embroidery. Historically, embroidery was an exacting leisure activity used to inculcate femininity and keep woman restricted to the domestic sphere (Cluckie 1988). For the artists, who have had these skills handed down to them through different generations of women within their families, this craft was their first introduction to making. Thus, the irony of using decorative crafts to respond to the higher elevated status of art in Modernism is not lost on the women. Paradoxically, it is also a choice that conveys their appreciation of this period.

These ideas are expressed in Sabadini’s The Sea; Minimalism in a Million Stitches, a work in which the Southern Ocean surrounding Albany is visualised through millions of little blue stitches. Sabadini’s creation highlights her ongoing conversation with hard edge and colour field painting: genres aligned with Minimalism and Abstract Expressionism and, produced by artists such as Ad Reinhardt, Barnett Newman and Mark Rothko. Rather than replicate the geometric forms, precise contours and expansive areas of bright colour congruent with hard edge painting or, the expressive power of large regions of unmodulated colour typical of colour field painting, Sabadini’s approach establishes something not removed from these concerns but altogether different. While the work retains a large abstract territory of blue, her palette is much softer and the millions of hand-crafted stitches become textural interruptions, that move silently across the surface, disrupting the intensity and continuity of contour, colour and form.

Walmsley’s work Ocean, which forms part of her Landscape series also references the vast waterways surrounding Albany. This textile sculpture, made from op-shop blankets, some of which originated from the now defunct Albany Woollen Mills, reveals a conversation with the simple, monumental geometric forms of minimalist sculpture and the smooth surface planes and geometric grids operating within hard edge painting. Resplendent in its varying shades of blue, Ocean is not an industrial machined hard-edged creation, comparable to something Richard Serra would create; nor are its geometric grid-like patterns as uniform as a Frank Stella painting. Instead, Walmsley’s minimalist structure is soft, riddled with fuzzy edges and infused with the histories of multiple blanket owners. Thus the intentionally impersonal styles of minimalism are reframed as intimate and personal in her hand-crafted representations.

Campbell-Pope’s Protection II and III also employs blankets originating from the Albany Woollen Mills to reinterpret alternative possibilities within Modernism. The blankets depict embroidered images of the Woolly Bush, a shrub native to the south coast of Western Australia and the brightly coloured lichens that cover the granite rocks throughout Albany. Maintaining a dialogue with Surrealist automatism, in particular 2

Max Ernst’s frottage drawings in the Histoire Naturelle, which consist of a collection of enigmatic landscapes populated with fantastical creatures, Campbell-Pope uses frottage to record scientific studies of her natural environment. While Ernst’s frottage drawings surrender to the nomadic wanderings of the subconscious mind, Campbell-Pope’s embroidered frottage translations embrace both the fantastical and the real. In this sense, her epic blanket-scapes, which can be moulded, folded or worn, portray a sense of the surreal through the mythical forest-like hairy green leaves of the Woolly Bush and the invading army of orange lichen. Yet, at the same time, her representation of these environments on blankets also reference everyday concerns, in that it suggests we need to nurture and protect that which shelters us.

Equally fascinated by Albany’s diverse plant-life, Thamo’s embroidered fabrics Backstory I and II explore the complexity and intensity of the flora growing within the region. Many unique native plants thrive in the cooler climate, and this ‘florabundance’ creates an opportunity for her to creatively document the thick, messy undergrowth, and diverse plant species hidden within the foliage. These works are also subtly infused with Hungarian embroidered motifs stemming from her Eastern European background. Thamo’s embroideries echo the intricacies of Henri Rousseau’s Naïve styled Post Impressionist paintings and Max Ernst’s surreal Joie de vivre series. For those not familiar with these artists, Rousseau’s paintings depict strange and slightly unsettling jungle scenes, which often reveal animals protruding out of layers of dense foliage and, Max Ernst’s paintings, which appear more apocalyptic than joyful, illustrate wild scenes of tangled undergrowth that physically dwarf their surroundings. Thamo’s untamed plant-life clearly mirrors the subject matter of these artists, but her choice to portray this on fabric, which can be sculpted and configured to the body, generates other surreal experiences of being overwhelmed by foliage.

The fragility of the Albany eco-system, which is often buffeted by strong winds and powerful eroding waves, is of particular interest to Riley. One of her works, A Tapestry of Stones, is a small abstraction of a much larger landscape and portrays the smoothed and polished surfaces of local stones shaped by the weather. This work is also evidence of a continuing exchange with Henry Moore’s views on ‘truth to materials’.

Moore (1934) famously wrote that, “Each material has its own individual qualities…Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh…It should keep its hard tense stoniness” (Moore quoted in ArcyART, 2016). Riley has chosen, however, not to work directly with the weathered stone.

Instead, she has created a rich vertical tapestry of Albany stones through the soft, malleable medium of natural wool. In addition, the skilful precision of her tapestry and cooler colour palette also leaves no trace of the wool’s raw or natural properties. Hence, Moore’s mandate on being true to materials is ironically re-examined in Riley’s tapestry rendering.

For most of us, there is a deep-seated desire to change the past, whether this is on a grand scale by eliminating wars and the atrocities associated with these, or at a more personal level by changing individual aspects of our lives. However, as I have suggested earlier, the science fiction model of physically returning to a fixed past to alter it, is impossible. Maybe though, by revisiting the past in the kind of way the artists have, that is, through an acknowledgement that the Modernism defining their formative art education still continues within their present, the opportunity to engage and interact with the past remains open, and possibilities to reinterpret it abound.

References ArcyART. 2016. “Truth to Materials” http://www.arcyart.com/ad-truth-to-materials.htm Cluckie, Linda. 2008. The Rise and Fall of Needlework: Its Socio-economic and Cultural Aspects. Edmunds: Arena Books Hartley, L.P. (1953) 2002. The Go Between. New York: New York Book Review Hoy, David Couzens. 2009. The Time of Our Lives: A Critical History of Temporality. Cambridge, Massachusetts, London, England: The MIT Press Prieto, Laura. R. 2009. “Women and the Power of Modernism.” In Journal of Women’s Histories. 21 (4):185-195 http://muse.jhu.edu.dbgw.lis.curtin. edu.au/journals/journal_of_womens_history/v021/21.4.prieto.html Sembera, Richard. 2007. Rephrasing Heidegger: A Companion to Being and Time. Ottawa: The University of Ottawa Press Dr Anna Nazzari is a writer and artist who currently works at Curtin University’s School of Design and Art, in the OUA Art Studies program.

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O ver Here An Integrated Response to Place

By Dr Anna Sabadini, Curator Imagine sustaining a meaningful conversation between yourself, Jackson Pollock, and your mother.

This is the first statement of the brief put to artists in the curated exhibition, Over Here. They were asked to respond to a male Modernist artist, artwork, or movement, using domestic craft-based media and/or techniques – but not in an adversarial way. Each artist was asked to imagine herself - and her work - as a bridge. In addition to Modernism and mother, each artist was asked to respond to the physical place in which we live – Albany, WA.

The overall premise of the brief considers how place, place-making, and placed-ness, is more than a relationship with the physical landscape we might occupy. It is a multi-layered and cultured experience. It is also multi-centred, and there can be separation between centres so that they are experienced as distant from each other. These feelings of connectedness or distance have implications for identity formation and a shared sense of belonging.

We, the women in this exhibition, are of a certain age; we grew up before social media. In our art educations Modernism was central. We came of age during Postmodernism, and currently practise as contemporary artists. Our mothers and grandmothers grew up in a different paradigm again; expressing themselves in a domestic world through traditional crafts, passing these skills on to us. We live regionally, but participate in the art community nationally. I wanted to work with these artists, including myself as an artist, because we have this in common. I wanted to explore the relationship of all these centres to each other; femininity, mother, Modernism, contemporary art, craft, the art world, Albany, Perth, Sydney, London, being over 40, now, then.

So the brief invites exploring Modernism as a place, one as potentially influential in the formation of identity and belonging as any physical place. Particularly for artists. But, perhaps for a female artist of a certain generation, the sense of belonging to Modernism as an art movement is complicated. Being women, we may have had issues with the heavy male Modernism of history and publication that we encountered. So, although influenced by Modernism and its beliefs and aesthetics, we may also have felt excluded from it. Or rebelled.

Or maybe, we had a good experience of it, but once beyond the first flush of artistic practice, questions arose – was I unduly influenced? Did I unquestionably imbibe male tenets and become somehow male in my aesthetics and artistic decisions? Is there a sense of myself that feels wrong because of this; a feminine vision suppressed? Or – am I allowed to love Modernism?

With regard to women in art, New York art critic, Peter Schjeldahl recently said: “Leading artists are still mostly male and overwhelmingly white” (2007). He summarised what feminists have already addressed, namely that “avant-gardism [is] a legacy of boy’s clubs in which women and minorities, to register, have been expected to enter a plea for their special identities.” He went on to touch on a legacy in women’s art that has been crucial to my envisioning of this project: “Concern for identity is murder on artists. Art, Gertrude Stein observed, is the pursuit of entity that succeeds while identity is not. That changes for nobody.”

Modernism therefore, is a place that created of femineity a non-place, or a hyper feminine place in rebellion against it. Advocacy by nature is an exaggeration and this too has implications for identity. It can become the worst type of nationalism, and be equally restrictive. Responses to the work and the ideas behind it thus far indicate that, for some women at least, these are not resolved issues. There is still anxiety or self-consciousness present around feminine identity in the public sphere – witness for example, the traction that Julia Gillard’s misogyny speech gained, and the response to women on the internet by trolls. These controversies, and my own experiences in art, led me to ask the question – can a living contemporary woman 4

artist conduct a non-politicised conversation with a dead Modernism or male Modernist? Or is it a dead issue to most?

The fact that Modernism is perceived as being dead and buried, and that female engagement with male Modernism might be an old hat issue, reveals another interesting construction of it as place – as a time in place, or, a place in time. According to Western belief in linear time and progress, the past is a place you leave behind. This is implicit in the very meaning of Contemporary Art; it is of the now, and as such rejects Postmodernism, which in turn, rejected Modernism, which in its time, also rejected what came before. How does a consideration of tradition, or of the past being a regenerative site, fit into an art world emphasising technology and youth culture? What are the implications for artists (and their sense of belonging) who are digital migrants, women to boot, hitting that period in their lives when they and what they do becomes magically invisible? A belief in linear time, the practicality of it, comes with a built-in sense of irrelevance. The notion of being situated, isolated, in the past, conservative, is also inherent in popular ideas of regions in the country.

L.P. Hartley famously began The Go-Between with, “The past is a different country. They do things differently there” ([1953] 1981, 7). Sometimes it’s hard to communicate to our mothers, or to non-art educated members of the regional community in which we live, what it is we do as artists. Different education levels and specialisations enact a form of separation. It’s difficult to live in many worlds at once – they often speak different languages. So these experiences are compartmentalised or segregated. This has ramifications for how identity and belonging are expressed. For example, how does an artist, wanting to express specific placement outside of a perceived centre, fit in? Beyond rebellion?

Much contemporary art speaks the globalised language of non-place, described by critic Jerry Saltz as “the voguish trio of black, white, and silver,” with “images mechanically taken from newspapers, the internet, or other media” (2011). And Modernism itself, aside from being situated in the past, was, literally, situated elsewhere; Paris, London, New York. In our group, some of our families emigrated from elsewhere. Two important points this show aims to make are: 1) that for non-indigenous Australians, a sense of being ‘in-place’ invariably involves elsewhere; places other than those we physically live in. And, 2): expressions of self are often compartmentalised, segregated, suppressed, displaced or forced into inhabiting non-places. Both shape how we see and belong to this country, and to ourselves.

Is it possible for a CWA lady from a previous generation with no art-speak, Jackson Pollock with his testicles aggrandised by art history, and an arts practitioner from Perth to sit down and exchange meaningful conversation? Is it possible to include my Italian mother who doesn’t speak English well, let alone art-speak…?

How would the conversation be redrawn if Elizabeth’s mother, wife of a Toodyay farmer, joined? Or Kate’s doctor father? Or if Judd replaced Pollock? Or an arts practitioner from Sydney? How does this relate to Albany, where we, but not you, live? How might the language and processes of craft enable this exchange? Is it possible for us, the female artists, to mediate these different territories we live across? To integrate them? What are the possibilities and the impossibilities and what implications does this have for a situated self? This exhibition asks these questions in order to tease out nuanced understandings of place-making and how it affects us.

References Hartley, L.P. (1953) 1981, The Go-Between, Penguin Books Limited, Middlesex.

Saltz, Jerry. “Making the Spirits Dance.” New York Magazine. June 5 2011. http://nymag.com/arts/art/reviews/markz-grotjahn-2011-6 Schjeldahl, Peter. “Contemporary Perspectives Lecture Series.” Hosted by School of Visual Art, Boston University, October 4 2007. http://www.youtube.com/watch?v=yLbtAFTWNiE

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A n n e Wa l m s l e y

I have explored the Modernist plane and grid albeit with a feminine twist. My simple geometric forms are not perfect shapes...not industrial, machined hard edged metal and spray painted...

I am exploring my personal landscape, both physical and emotional, through looking at my rural south coast W.A. home and my questionable ‘place’ living in a still largely (often subtlety expressed) patriarchal society.

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Eliz abeth Riley

Choosing Cezanne, Matisse, Moore and Pollock as the male Modernists to respond to gives a generational progression of art practice.

Cezanne flattened the picture plane…Matisse and Moore simplified forms…Pollock removed form and created space through seemingly random THREADS of paint.

I have endeavoured in all works to make the placement of threads or grasses as random as possible to break with the usual patterning that generally happens within craft fields – to break the ‘rules’ (as Modernism did)… To capture the spaces created and held in the arms of the landscape and the inherent fragility of this ecosystem.

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K at e C a m p b e l l- P o p e

I have an affinity with certain local plants… bordering on a ‘plant fetish’… the Albany Woolly Bush, the lichens covering the distinctive granite rocks around Albany, and the kind of hardy salt and wind sculpted plant life common to the immediate coastline and local islands such as Breaksea…

There is a desire to disappear into this landscape in order to feel more a part of it. I have tried to make my body be the means for the flatness of the blanket surfaces to be transformed… Brancusi’s sculptural works strongly relate to the creation of pure form; and Max Ernst’s frottage attempted to describe ‘a new landscape’.

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K at i T h a m o

My eastern European background has influenced my art, and various Hungarian references and motifs recur.

For several years I lived in the forest on the south coast, surrounded by vegetation on all sides. Henri Rousseau’s strange jungle scenes…Max Ernst’s ‘Joie de vivre’ paintings of dense vegetation…the intensity of colour and patterning in the paintings of Matisse are also an influence.

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A n n a Sa b a d i n i

It’s strange to think of a contemporary artist in Albany having something in common with the art scene of Modernist New York. Although, with Contemporary Art having moved on, both are seen as peripheral I guess.

I’ve tried to come up with a visual language that could be understood by the Minimalists back then (Barnett Newman, Donald Judd, and Walter de la Mare), my non-educated immigrant mother, and a contemporary arts practitioner from the big smoke. By using rolls of fabric and embroidery techniques I place myself within the tradition of painting, land art, and the crafting traditions of the women in my family, the feminine.

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l i s t o f wo rk s All measurements, Height x Width x Depth Front cover

Elizabeth Riley Homage to Moore 2016 local native grasses (Albany) 140 x 135 x 35 cm Photo: Bo Wong Inside front cover and page 1

Anna Sabadini The Sea 2016 (detail) (Minimalism in a Million Stitches) embroidery thread, canvas 195 x 300 x 15 cm Photo: Bo Wong

Page 7

Anne Walmsley Rocks 2016 component of Landscape (Rocks, Beach, Ocean) found woollen blankets, upholstery thread 5 x 150 x L150 cm (dimensions overall approx 5 x 324 x 840 cm) Photo: Bo Wong

Elizabeth Riley Silhouette 2016 (detail) painter’s drop cloth, silk, linen, cotton threads 185 x 90 cm Photo: Bo Wong

188 x 144 cm Photo: Kati Thamo

Anna Sabadini Granite 2016 upholstery thread, dressmaking pins, calico 17 x 38 x 46 cm Photo: Bo Wong Page 15

Page 9

150 x 45 x 55 cm Photo: Bo Wong

Elizabeth Riley Silhouette 2016 on a granite face, Mt. Clarence, Albany.

Artwork: painter’s drop cloth, silk, linen, cotton threads

Page 3

185 x 90 cm Photo: Alan Danks

Elizabeth Riley Homage to Jackson Pollock 2016 (detail) butter muslin, cotton threads dimensions variable

Kati Thamo Undergrowth 2 2016 with lizard at Waychinicup National Park Artwork: blanket, thread

Page 14 Page 8

Page 2

Elizabeth Riley Tapestry of Stones 2016 (detail) tapestry canvas, wool

Page 13

Anna Sabadini Continents 2016 thread, cloth (handspun from Genista fibres, hand-woven in Italy, c.1950) pine, metal, plywood 170 x 175 x 175 cm Photo: Bo Wong Page 15

Page 10

Photo: Bo Wong

Kate Campbell-Pope Protection III 2016 digital print on photographic paper

Anna Sabadini Continents 2016 (detail) thread, cloth (handspun from Genista fibres, hand-woven in Italy, c.1950) pine, metal, plywood

Page 4

200 x 150 cm Photo: Bo Wong

170 x 175 x 175 cm Photo: Bo Wong

Pages 11 and 18

Page 17

Kate Campbell-Pope Profusion 2016 (detail) found coasters/trivets, hemp cloth, woollen threads dimensions variable

Photo: Bo Wong Page 5

Anne Walmsley Bales 2016 (detail) knitted woollen yarn

Kate Campbell-Pope Protection II 2016 on Stony Hill, Albany Artwork: Albany Woollen Mills blanket, woollen threads 115 x 145 cm Photo: Roger Cunningham

Kati Thamo Left: Backstory 2 2016 fabric, thread

Page 6

102 x 118 cm Photo: Kati Thamo

5 x 324 x 112 cm (dimensions overall approx 5 x 324 x 840 cm) Photo: Bo Wong

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Photo: Bo Wong Inside back cover

Page 12

approx 30 x 60 x 34 cm Photo: Bo Wong

Anne Walmsley Beach 2016 (detail) component of Landscape (Rocks, Beach, Ocean) found woollen blankets, upholstery thread

Elizabeth Riley Homage to Matisse II 2015 (detail) Belgian linen, linen and cotton threads, gesso 86 x 82 cm

Page 12

Kati Thamo Right: Backstory 1 2016 fabric, thread 118 x 115 cm Photo: Kati Thamo

Kati Thamo Undergrowth 1 2016 (detail) blanket, thread 156 x 114 cm Photo: Bo Wong Back cover

Kati Thamo Undergrowth 1 2016 (reverse detail) blanket, thread 156 x 114 cm Photo: Bo Wong

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a b o u t t h e art i s t s A n n a Sa b a d i n i Selected Educational and Employment Details 2007-16 Sessional Academic for Bachelor of Arts (Art), Open University Australia

Curtin University WA 2007 Doctorate of Creative Arts (Art), Curtin University WA 2000 Honours, Bachelor of Arts (Art) Curtin University WA 1994-6 Bachelor of Arts (Art) at Curtin University WA Solo Exhibitions 2011: Entropy: Pierre and Piero, emerge ART SPACE, Perth WA 2010: Home, Artereal Gallery, Sydney NSW 2008: Translation, emerge ART SPACE, Perth WA Selected Group Exhibitions 2015: After, Mundaring Arts Centre, Perth WA 2012: Finalist, Midwest Art Prize, Geraldton WA 2011: Artists for Peace, Moores Building, Fremantle WA 2010: Reconfigured, emerge ART SPACE, Perth WA 2009: Chiaroscuro, Artereal Gallery, Sydney NSW 2008: Landscape, Flinders St. Gallery, Sydney NSW Curatorial Projects 2016: Steal, Linton & Kay Gallery, Perth WA(forthcoming) 2016: Over Here, Nyisztor Studio, Perth WA 2015: After, Mundaring Arts Centre, Perth WA 1999: The Nip ‘n’ Fluff Xmas Show, Moores Building, Fremantle (co-curators Felicity Sivewright and Herman Isaac) Selected Writing 2016 ‘Touchstone’, chapter in Visual Arts Practice and Affect: Meaning Materiality and

Embodied Knowledge, Ed. Dr. Ann Schilo (forthcoming) 2010 ‘Transforming Viewpoints’ co-written with Dr. Ann Schilo. The International Journal of

the Arts in Society, Vol. 5, Issue, 3.

2010 ‘Collaborative Viewpoints’, co-written with Dr. Ann Schilo. Published in Colloquy

Journal, Nov. 2011.

2010 ‘Delighting in Metaphors’ co-written with Dr. Ann Schilo, presented at Art Assoc. of

Aust. and NZ conference, Adelaide SA. 2009 ‘Review of Spinning the Dream by Anna Haebich and Contrary Rhetoric by John

Kinsella’, Indigo Journal, Vol. 3 Selected Publications 2010 Vite Italiane: Italian Lives in Western Australia, by Dr. Susanna Iuliano, UWA Press.

2010 Anna Sabadini at Artereal Gallery, Rozelle, by Gabrielle Jones: http://gabriellejonesart.

blogspot.com/ 2008 ‘Found in Translation’ by Nathan Scolaro, Scoop Insite, 2008, Spring, pp 200-202.

2008 Lines of Flight and Fancy: Migrated Metaphors of Dislocation, by Dr. Ann Schilo,

MMWW08 conference, Madrid.

Selected Distinctions and Awards 2015 Visual Arts Grant to develop Over Here exhibition, Department of Culture and the

Arts, WA. 2010 Artflight, Department of Culture and the Arts, WA 2009 Selected for Creative Non-Fiction Workshop at Varuna, The Writer’s House,

Katoomba NSW 2008 Finalist, The Churchie National Emerging Art Exhibition, Qld; Finalist, 'Off The Wall',

at The Weekend Australian Art Melbourne and Art Brisbane art fairs; Finalist,

The LongLines Prose Workshop, Varuna – The Writer’s House, Katoomba NSW 2007 Jill Bradshaw Bursary, Australian Federation of University Women, WA 2005 Literary novel, Father, shortlisted for the T.A.G. Hungerford Award, WA Representation Joondalup Public Gallery, City of Wanneroo, Perth

K at e C a m p b e l l- P o p e Educational Details 1993 Bachelor of Visual Arts (first year). Edith Cowan University WA 1989 Bachelor of Fine Arts (first year). Curtin University WA

Prelim Certificate first year Art and Design. Claremont School of Art WA Selected Public Art Commissions 2007/08 Percent for Art Artwork for Denmark Health Campus, Denmark WA 2002 Percent for Art Sculpture for new School in Ellenbrook WA 1997 Sculptural Entry Statement for Albany Regional Hospital, Albany WA Selected Group Exhibitions 2014: Tamworth Textile Triennial, Tamworth NSW 2011: re: a prefix, Kobe, Japan, and WA Museum, Perth 2011: Lovelace, Sydney Powerhouse Museum NSW 2009: Continuum, Gorepani Gallery, Albany WA 2009: Paperartzi 09, Albany WA 2007: Canopy of Air, Ellenbrook Gallery WA 2007: Emblems of Belonging WA Museum, Albany WA 2005/06: Make the Common Precious, Craft Victoria Gallery, Melbourne, Victoria / Centro Culturale, Santiago, Chile 2005: Woven Forms, Object Gallery, Sydney NSW 2004: Seven Sisters, Central Metro TAFE Gallery WA 2002: Mine Own Executioner, Mundaring Arts Centre WA 2000: Too Weave, Broken Hill City Art Gallery NSW 1999: Doll, Adelaide Festival Centre, Adelaide SA / Object Galleries, Sydney NSW 1998: Context, Perth Galleries, Subiaco WA 1998: Past Tense/Future Perfect, Moores Building, Fremantle WA and Centre for Contemporary Craft, Sydney NSW 1997: Recoverings, Moores Building, Fremantle WA 1996: Art, Medicine and the Body, PICA Perth WA Selected Publications 2005 Craft Unbound – Make the Common Precious by Kevin Murray, Craftsman House

(Thames and Hudson) 2006 Cultural Strands FORM Contemporary Craft and Design Representation Art Gallery of WA, National Museum of Australia, King Edward Memorial Hospital WA, City of Tamworth NSW Residencies 2005 ANU School of Art, Textiles Workshop, Canberra ACT 2014 Breaksea Island Arts Residency, Albany WA

Eliz abeth Riley Selected Educational and Employment Details 2010-14 Committee member, NEW ARTS Inc. Albany WA 2013 Sculpture in the Harbour committee NEW ARTS Inc. Albany WA 2011 Selector for Paperartzi, Albany WA 2006 Teaching, Kidogo Arthouse, Fremantle WA 1998-99 Cert. 4 Fine Art and 4 units toward a Diploma of Fine Art, Claremont School of Art,

Perth WA Solo Exhibitions 2014: Pop-up exhibition, Dylan’s Cafe Gallery, Albany 2009: New Work, Katanning Art Gallery 2008: New Work, UWA Club Gallery 2002-6: 4 solo exhibitions, Kidogo Art House, Bathers Beach, Fremantle WA Selected Group Exhibitions 2016: Mamang Koort, PIAF, Albany WA 2010: Rick Amor Drawing Prize, Ballarat Art Gallery, Vic. 2010: Public sculpture, Cobbers, made for The Forts, Albany WA 2010: Sculpture by the Sea, Cottesloe WA 2007: Joondalup Art Prize, Perth WA 2005: Mandorla Art Award, Perth WA 2004: Town of Cambridge Art Prize, Cambridge WA 2001-2: Bankwest Art Award, Perth WA Selected Distinctions and Awards 2010 Finalist, Rick Amor Drawing Prize, Ballarat Art Gallery 2007 Finalist, Joondalup Art Prize 2005 Finalist, Mandorla Art Award 2004 Inaugural winner, Town of Cambridge Art Prize 2001-2 Commended, Bankwest Art Award Selected Publications 2011 Sculpture by the Sea, the first fifteen years 1997-2011 2010 'Tom Bass Sculpture by the Sea', by John McDonald. The Sydney Morning Herald,

March 13, 2010.

K at i T h a m o Selected Educational and Employment Details 2006 Casual Lecturer in Visual Art, Edith Cowan University, Albany WA 2002/4 Casual Lecturer in Printmaking, Edith Cowan University, Albany WA 2001 Bachelor of Fine Arts with Honours, University of Tas 1995-98 BA Visual Art, Edith Cowan University WA Solo Exhibitions 2015: Retold, Beaver Galleries, Canberra, ACT 2014: Timelapse, Turner Galleries, Perth WA 2012: Chasing Shadows, Turner Galleries, Perth WA 2009: Casting Shadows, Beaver Galleries, Canberra ACT 2005: Confabulations, Beaver Galleries, Canberra ACT 2004: Storylines, Byte Gallery, Perth WA 2002: Relating Narratives, Artplace, Perth WA 1997: Stories, Lies and Make Believe, Artplace, Perth WA Selected Group Exhibitions 2013-2015: Silk Cut Award, Melbourne Vic. 2013: Burnie Print Prize, Burnie, Tas. 2012: ten(T), PIAF (Great Southern Program) Residency Museum, Albany WA 2011: Paperartzi, Vancouver Art Centre, Albany WA 2009: Continuum, Gorepani Gallery, Albany WA 2009: International Print Triennial Krakow, Poland 2008: Shadow me Home, Moore’s Building, Fremantle WA 2006: Unravelling Country, Gorepani Gallery, Albany WA 2005: 33, Port Jackson Press, Melbourne Vic. 2003: Women Remembering Women, Moore’s Building Fremantle WA 2001: Modo de Volar, Entrepot Gallery, Hobart, Tas. 2001: Small Passions, Fine Arts Gallery, Hobart, Tas. 2001: Mine Own Executioner, Mundaring WA 1998: Small Figures - Big Lives, Fremantle Arts Centre, WA

Selected Distinctions and Awards 2012 Centennial Art Prize, Print Award 2009 Banyule Works on Paper Award, Highly Commended 2009 Print(Ed) Award, Judge’s Choice Award 2009 Western Australian Printmedia Award, Best Edition Award 2007 Albany Art Prize, Major Open Award 2006 Wanneroo Art Award, Mixed Media Award 2003 Western Australian Printmedia Awards, Major Open Award 2002 Fremantle Print Award, People’s Choice Award 2002 Fremantle Print Award, Highly Commended 2001 Albany Art Prize, Print Award Representation Print Council of Australia, Native Title Tribunal, Banyule City Council Vic., Charles Sturt University NSW, Murdoch University WA, Charles Darwin University NT, Queensland University of Technology Art Museum Qld., Toowoomba Regional Art Gallery Qld., Gladstone Regional Art Gallery Qld., Burnie Regional Art Gallery Tas., City of Fremantle WA. St John of God Hospital WA, City of Wanneroo WA, City of Albany WA, City of Swan WA, City of Whitehorse Vic., Grafton Regional Art Gallery NSW, Forbo Holdings, Switzerland

A n n e Wa l m s l e y Selected Educational and Employment Details 2012 Judge for Art in the Park sculpture exhibition. Porongurup WA 2010 Judge for Art in the Park sculpture exhibition. Porongurup WA 2010 Judge for Newdegate Field Day Art exhibition WA 2010 Bachelor Arts (Art) Curtin University WA 2009 Advanced Diploma Art TAFE Albany WA Solo Exhibitions 2015: Cold Light emerge ART SPACE, Perth WA 2014: La Maison Rose, emerge ART SPACE, Perth WA 2012: In My Cupboard, emerge ART SPACE, Perth WA 2011: In Living Memory. Freemasons Hall, Albany WA 2008: Audacity of Faith, John Curtin Gallery, Perth WA Selected Group Exhibitions 2012: John Parkes: a survey in the company of friends, Holmes à Court Gallery. Cowaramup WA 2012: Sculpture Inside, Cottesloe Surf Life Saving Club, Cottesloe WA 2012: Sculpture by the Sea, Cottesloe Beach, Cottesloe WA 2012: ten(T), Perth International Arts Festival (Great Southern Program). Residency Museum, Albany WA 2011: In the Mix, Vancouver Arts Centre, Albany WA 2010: Aggregate, PIAF (Great Southern Program) Residency Museum, Albany WA 2010: GetsmArt, John Curtin Gallery. Perth W.A 2009: Duck Egg Black, The Lodge, Albany WA 2008: Paperartzi, NewArts, Vancouver Arts Centre, Albany WA 2007: Fractured States, Vancouver Arts Centre, Albany WA 2007: Paperartzi, NewArts, Albany WA 2007: Emblems of Belonging, Albany Residential Museum, Albany WA 2006: Hotspot, PIAF(Great Southern Program) Albany Residential Museum, Albany WA 2005: Twonkwillingup, PIAF Katanning Regional Art Gallery WA 2005: Hotspot. PIAF (Great Southern Program) Katanning WA Selected Publications 2011 Greenshields. Dr. B. 2011 ‘In Living Memory’. Art Monthly, Australia. Issue 238, article 7.

April 2011.

2011 Greenshields. Dr. B. 2011 ‘In Living Memory’. Art Source Magazine. April 2011.

Representation Janet Holmes à Court Collection, Private collections

over here a n i n t eg ra t e d re s p o n s e t o p l a c e Curatored by Anna Sabadini APRIL 2nd to MAY 1st 2016 Nyisztor Studio 391 Canning Highway, Melville WA Western Australia

Ack n ow l e d g e m e n t s The artists gratefully acknowledge the help of many friends and supporters throughout the five years it took this project to come to fruition. We couldn’t have done it without you: Gina Cinanni Paul Cowley Roger Cunningham Alan Danks Moira Doropoulos Kevin Draper Dylans on the Terrace, Albany Harry Feddersen Indra Geidans Jillian Green Barbie Greenshields Ellen J. Hickman Beth Kirkland Dianne Lofts-Taylor John McKinnon Paul Moncrieff Anna Nazzari Ron Nyisztor Andrew Purvis Geoffrey Riley Rachel Robertson Alida Rondoni Fleur Rondoni Adelina Sabadini Ann Schilo Nalda Searles Elaine Seymour Nena Sorensen Holly Story Sheryl Stephens Rhoda Walmsley Cecile Williams Bo Wong Joy Wood

Government of Western Australia Department of Culture and the Arts

This project has been funded by the Western Australian Government through the Department of Culture and the Arts.