Documente Academic
Documente Profesional
Documente Cultură
13 May
24 February -
13 May
4
Foreword
a small country town and was struck by the way
in which artists and supporters from a wide area
had come together to celebrate the occasion and
support one of their number. There were no capital
city curators present but there were two regional
gallery directors and someone from the local
media. While this doesn’t, by any means, refute the
idea that regional artists can feel isolated it does
demonstrate that networks of support do exist ‘in
the bush’ and that artists are often valued for their
contribution to community.
Being Regional
“There appears to be fewer exhibitions for
audiences to attend and fewer opportunities
to purchase work, which has the corollary of a
negative impact on artist and gallery incomes and
artist employment. Employment in the visual arts
is in a period of transition, with lower than relative
average annual growth. This marks the beginning of
a potential vicious circle for the sector.
”Present State: An inquiry into the visual arts sector in Western
Australia 2016. DCA Visual Arts Discussion Paper, page 3
5
Julian Bowron
Director
Bunbury Regional Art Gallery
6
to live here
but it helps
Imagination in the
South West
7
By Michele Grimston
materials: Commonalities
in the work of
By Alisa Blakeney
ARTISTS A - Z
24
Akerman
Crispin Akerman, Copper Bowl, Seasonal Flowers & Pears, 2017, oil on linen, 410 x 610mm (Photo by Crispin Akerman)
crispinakerman.com.au
26
Tracie
Anderson
Tracie Anderson is a ceramic and mixed media Tracie Anderson combs the beaches of Western
artist, who works mainly with porcelain and
found objects from the ocean and shore. She
Australia, from Albany to Broome, finding and
has a Diploma in Visual Art and has shown collecting organic objects. She incorporates these
her work in many exhibitions, including a solo objects into her ceramic artworks celebrating
exhibition, Bleached Fragments, at ArtGeo
Cultural Complex, Busselton in 2014, and Salt: the beauty and diversity of our oceans and
The Blue Series 2018, with Sharon Hinchcliffe shorelines. This theme is reinforced through the
at Bunbury Regional Art Gallery. She was
highly commended in the 2012 Signature
recurrence of motifs of boats, seashells, and an
South-West exhibition and twice won first aquatic colour palette. By highlighting the unique
prize for 3D work at the City of Albany Art
Prize, in 2006 and 2009.
forms and patterning of things like worn wood
and frayed nets, Anderson draws out the beauty
tracieandersonceramics.com in that which has been discarded, allowing us
to view these objects in a new light. Her works
in South West Art Now include three cylindrical
vessels, which can be interpreted as tall vases.
Sections of the glazed porcelain have been cut
away and replaced with a collage of found flotsam
and jetsam, sewn together onto a mesh backing.
By requiring the viewer to closely investigate their
interiors to see the full work, these vases create
an analogy for the ocean; we are encouraged to
modify our shallow perceptions, and to instead
see the depths of its complexity.
Ansell
Baker
Blowfield
Christine Blowfield works in acrylic and Christine Blowfield loves the wildflowers, gum
pastel, always depicting flora of the trees and colours of the Australian bush, often
South West. She exhibits regularly and
her awards include the Vasse Art Award
reproducing the unique light and flora of the
in 2012; Highly Commended Award South West in her paintings. Her intention is to
at Nannup Art Award in 2015; Highly capture the essence of brief moments of joy or
Commended at Gosnells Art Award in
2015; Harvey Shire Acquisition Award in
pleasure that are experienced by escaping into
2015; and the Perth Royal Show Open nature; she paints rays of light passing through
Art Award People’s Choice in 2015. tree branches “as if you’re laying on the ground
looking up on a Sunday afternoon”.
There is a performative dimension to her painting,
with Blowfield placing importance on the
process of painting the work, acting as medium
and facilitator in giving voice to her environment.
While her completed works are highly finished,
often with fine detailing in gold leaf, Blowfield is
not precious about her art, often painting over
a finished work if it remains in her studio for any
extended length of time.
In Endless Serenity, Blowfield has painted
directly onto three layers of clear acrylic plastic,
to enhance the sense of depth in the painting.
Alternating textured paint of the foreground with
clear acrylic draw the eye into the work, pulling
the viewer into the experience of the landscape.
35
Castelli
Rebecca Born 1976, Perth, Western Australia; lives and works in Bunbury.
Corps
mollycoy.com
41
Molly Coy, Lands and Capes (work in progress),
2017/18, artist book, works on paper, 380 x 820mm
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Davis
The idea of nature as a witness to history has Annette Davis is interested in finding
been the focus of Annette Davis’s ongoing ways to express the layers of experience
within a landscape. She works in a
artistic investigations into two locations – the range of media including drawing,
coast of King George Sound, Albany, and the printmaking, photography, painting and
Murchison River in the State’s mid-west. Sentry large scale frottage, through which she
captures an impression of forms of
is inspired by a particular tree located where nature. Davis exhibits regularly in the
the bush meets the sandy beach of Whaler’s Great Southern in group exhibitions, as
Cove, a small bay at the south-western edge part of MIX Artists, and as an individual,
of King George Sound, Albany. This tuart tree and recently had a solo exhibition
Continuity at the Vancouver Arts Centre,
Eucalyptus Gomphocephala has stood as Albany. Davis was awarded the Shire of
a sentry to this bay for hundreds of years, a Manjimup Acquisitive Award in 2015.
witness to all the experiences at this shoreline www.annettedavisart.com
and in the waters it looks out to. Who has sat
under its shady canopy?
Whaler’s Cove, as the name suggests, was a
rudimentary onshore whaling operation in the
1850s. The massive flat bank of granite upon
which whales were carved up, is now used as
a convenient platform from which to fish, and
families enjoy the clear turquoise waters of this
sheltered bay. The ridge above the beach is rich
with evidence of Aboriginal culture, including
lizard traps, gnamma holes and markings in the
granite surface.
The ridges and grooves of the bark of the tree’s
trunk and branches are the basis of these
white charcoal drawings on black canvas discs.
The descriptive lines suggest markings from
topographical maps and maritime charts, and
other lines follow the course of tracks made
across the dunes and ridges by Aboriginal and
non-Aboriginal people.
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Annette Davis, Sentry (details), 2017,
charcoal pencil on canvas on board, 2300 x 1700mm
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Merle Topsi Born 1948, Collie, Western Australia; lives and works in Bunbury.
Davis
Tony Davis began his career as a painter, but his Tony Davis is a painter, sculptor and fine
move to the South West led to him increasingly wood craftsman, working mainly with
sustainable timber salvaged from fires
using sustainable materials such as timber and windfalls. He graduated from W.A.I.T.
salvaged from fires and windfalls in sculpture and in 1972 and taught for many years in
furniture-making. His paintings and sculpture both public and private schools, and at
Curtin University. He has exhibited solo in
have been exhibited together, with one being seven exhibitions and many group shows,
an extension of the other in expressing his including in Paddington, Sydney. Since
deep fascination with the human psyche and 2010, he has participated in Sculpture
relationships with the environment. by the Sea fourteen times: in Cottesloe,
Bondi and Aarhus, Denmark. His work
is held in the collections of Minderoo,
Mantle references an ongoing relationship with Kerry Stokes, Curtin University, Supreme
nature on a spiritual level, which is evident in Court of WA and numerous private and
creative expressions throughout history. Through corporate collections.
minimal modelling of a hollowed Jarrah log, www.tonydavisart.com
salvaged from a firewood mill operation, Davis
highlights both the seductive language of wood
and forces of nature, like termite activity and
fire, to create a simple human presence, without
effacing the original tree form. A combination of
textured finishes and eroded, burnished surfaces
adds to the allure of the tactile, appealing to an
engagement of our senses.
Davis writes: “as in most of my work, I endeavour
to invoke a sense of mystery, of the enigmatic, to
encourage the broadest possible interpretation.”
48
Dickson
Aimee Dickson makes pen and pencil Aimee Dickson makes character-based
drawings, exploring text, colour and illustrations in pen and pencil as a primary
shape. Diagnosed with autism in early
childhood, Aimee is non-verbal and her
form of expression. Often she will start with
drawings are a vital form of expression a reference image, be it a photograph of an
and communication. For the past six animal or a painting from the canon of art
years, she made work during weekly
sessions with mentor Yael Harris. Her
history. Her interpretations of these images are
first solo exhibition Interpretations was highly eloquent, capturing facial expressions
at Painted Tree Gallery in Northcliffe and mannerisms in a minimum of strokes. The
in 2012. In 2016 Aimee illustrated and works exhibited in South West Art Now build on
published a children’s book, #Harmony
Tweet, in collaboration with Melbourne the fundamental element of Dickson’s practice
author Diane Jackson-Hill. In 2017 she – the sausage-like shapes which underlie her
won the As We Are Regional Art Award work in its rawest form. When she works without
with her work Emu.
a reference image, Dickson builds up pages of
artimee.com.au sketches layered with works and figures that
form an extended taxonomy of her internal world.
These works exhibit the repetitive patterns and
visual density that is common to a great deal of
the work done by autistic artists, and which has
been related to the overwhelming auditory and
tactile input these artists experience in their daily
life. Dickson’s artistic practice is an essential tool
in providing her a meditative space, where she
can become deeply absorbed in building up
colours and forms. The resulting drawings have
a dynamic power, and give viewers a fascinating
insight into her experience of the world.
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Aimee Dickson, My Inner World #1-6, 2018, pen, pencils, texta on paper, 400 x 500mm each
50
Cynthia Dix Born Perth, Western Australia; lives and works in Mullalyup.
Doherty
Jenni Doherty, Oceans Of Uncertainty - Big Bad Night, 2017, oil, lino, gold leaf on canvas, 18 panels, 300 x 300mm each
53
Jenni Doherty is well known in the South West Jenni Doherty is a painter and printmaker
for her decorative paintings, informed by the whose work is informed by the use of
pattern and a fascination with time and
use of pattern, both current and historical. Her repetition. She exhibits regularly at
works in South West Art Now are an intimate Yallingup Galleries and is represented
and personal response to the passing of time, in Perth by Linton and Kay Galleries. In
2012, she was the overall winner of the
as it relates to daily experience, memory, family South West Survey at Bunbury Regional
and mortality. The paintings incorporate print, Art Gallery. She has previously taught
with the patterning of lino blocks emerging from at South West College of TAFE and
the surface of the paintings, under densely- Edith Cowan University, South West,
and currently teaches Studio Sessions
layered oil and acrylic paint and gold leaf. The Classes and other workshops from her
process of their making is time consuming and Wellington Mill studio.
repetitive. Long lines score the works horizontally http://jennidoherty.com.au/
and are connected by hundreds of short dashes
which bring to mind a tally of days, or stitches
in an elaborate veil of lace. This veil obscures
the underground of the painting from view, like
the haze that a failing memory casts on past
experiences. The result is a series of paintings
which invite the viewer to experience the currents
of time differently. The patient activity of mark-
making, which is undertaken in a meditative state
with no concern for the passing minutes and
hours, invites a reciprocal lack of haste on the
part of the viewer. Through extended viewing,
the full density and richness of these paintings is
revealed to us.
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Dorricott
Yvonne Dorricott, Coastal Flags (detail), 2017, etching on BFK paper, woodcut on dyed fabric, 1800 x 2000mm (Photo by Yvonne Dorricott)
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Tanya Born 1962, Perth, Western Australia; lives and works in Bunbury.
Downes
Tanya Downes, Life in the Balance, 2018, wood/mixed media, 580 x 350 x 350mm
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Paul Elliott, Handbasket, 2017, LPG gas bottle-cylinder, Paul Elliott, Feather Bowl, 2017,
300 x 240 x 240mm LPG gas bottle-cylinder, 120 x 240 x 240mm
Paul Elliott, Fruit Bowl, 2017, LPG gas bottle-cylinder, 140 x 240 x 240mm
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Faber
Farrant
www.reneefarrant.com
Frazer
andrewfrazerdesigns.com
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Fry
www.fryart.com
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Richard Fry,
work in progress, 2017
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Grotian
Anne Grotian works in installation, clay Anne Grotian’s work begins with an interest in
sculpture and drawing. She completed form, exploring ways of expressing this form
a Diploma: Ingenieur grad. in Fashion/
Textil-design at Fachhochschule
through objects. Drawing is the basis of all of her
Niederrhein, Germany in 1976, and practice, whether realised through clay sculpture,
worked for 20 years as a designer. installation or on paper. In Shades of Time, Grotian
She migrated to Australia in 2009, and
has since exhibited at Sculpture in
begins with old rusted nails, called “dogs”, which
the Bay 2014 and 2015, Dunsborough; she finds half submerged in the ground near the
Castaways Sculpture Awards 2014, Great Southern Railway in Kendenup. Dog spikes
Rockingham; and the solo exhibition are used worldwide to secure and fasten rails in
INHOUSE at Vancouver Art Centre,
Albany in 2013. In 2014, she won the a railway system. These objects hold and express
South’s Furniture Emerging Artist Award a depth of history within their form; they are the
in the South West Survey, and was evolutionary result of centuries of technological
offered a solo exhibition, which took
place at Bunbury Regional Art Gallery in refinement, directed at fulfilling a specific
2015, entitled CLAY. function, but each bears the individualised marks
of the craftsman’s hand that shaped them. Grotian
explores these nails through drawings and rusting
on paper, celebrating each as a unique object
that expresses its form in monochromatic shades.
By doing so, she exceeds the narrow utilitarian
construction of the technical object, instead
understanding it as constituting a network of
relations.
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Hamdorf
Roslyn Hamdorf is a landscape painter Roslyn Hamdorf begins each of her paintings in
whose work concentrates on the the form of a traditional landscape, representing
connections between sea, sky, rocks
and sand. She has been painting full
the diverse landscapes around her home near
time for the past three years, and is Margaret River. She then adds further layers to
drawn to examine the unique geology the work, obscuring parts of the main image, to
of her environment. Her work has been
create a landscape that gives the impression of
shown as part of the Margaret River
Region Open Studios, at Bush House in boulders and rock formations, or grains of sand.
Quedjinup, and she was a finalist in the
City of Busselton Art Award at ArtGeo Canal Rocks in Winter, as the title suggests, began
Cultural Complex in 2017. as a view of Canal Rocks in Yallingup. This is a
striking and unusual section of the coastline, and
one that Roslyn Hamdorf has painted many times.
Despite not being immediately recognisable as
this landscape, the painting still gives a sense of
location through its material qualities.
This return to geology in Hamdorf’s work gives a
sense of deep time, placing human identity on a
geological timescale, alongside rocks that have
been churned by erosion, sedimentation and
ocean flows. It marks a shift from art that merely
represents the landscape, to working directly in
and with landscape.
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Roslyn Hamdorf, Canal rocks in winter, 2017, acrylic on canvas, 2100 x 910mm
72
Harris
Sam Harris, Neighbours 1-3, 2017, archival digital prints, 400 x 500mm each
73
Sam Harris’ 2015 photobook The Middle Originally from London, Sam Harris began his
of Somewhere received the highly career more than 25 years ago shooting record
prestigious American Lucie Award 2015,
as well as Australian Photobook of the
covers and portraits for numerous music acts
Year 2015 People’s Choice Award and such as Victoria Beckham, Jamiroqui, UB40,
the AIPP Book of the Year 2016. His John Lydon, Blur, Portishead, Jarvis Cocker and
previous photobook Postcards from
Home received the inaugural Australian
Ronan Keating. He also regularly shot portraits
Photobook of the Year 2011, as well as and features for leading UK publications The
the Australian publishing industries Galley Sunday Times Magazine, Esquire, Telegraph
Club ‘Book of the Year’ and ‘Australian Magazine, Dazed & Confused, GQ and worked
Book of the Year’ 2012. Harris’ work
has been exhibited in U.S.A., U.K., Italy, on assignments around the world. Since settling
Portugal, India, Russia and Australia and in Balingup, Harris has come to focus on
resides in public and private collections. documenting his own life and surroundings, most
When not photographing, he lectures in
photography and runs workshops. He has recently compiling these into the photobooks
20,000 followers on Instagram. Postcards from Home and The Middle of
Somewhere, which capture intimate moments of
samharrisphoto.com
domestic life with warmth and candour. Harris’s
photographs in South West Art Now are from the
early stages of his new long-term project titled
Neighbours. The photographs record the daily
activity of his friends and community, forming
both a diary and an inquiry into the values and
lifestyle of a group of friends in small rural town
with a unique and creative spirit at its heart.
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Higham
Catherine Higham focuses on the relationship
between human behaviour and ecology in her
artwork. A passionate advocate for regional
Australia, her experiences of working as an
artist and farmer for over twenty years form the
inspiration for this work. Using found objects,
site-specific installation and digital media,
Higham attempts to open dialogue about land
use between positions of often polarised values.
In her recent work, she has investigated the
presence and transmission of codes, examining
the use of colour in meteorological temperature
maps and maritime flags. Having recently moved
from her farm in Williams to a coastal environment,
Higham has had an increasing focus on maritime
signals, and the system of flags and associated
codes used to communicate with ships across
the Southern Ocean. Her work Drift explores
language and meaning, seeking to identify
patterns and disruption within sequences of
symbols.
catherinehigham.com.au Catherine Higham, Drift (detail), 2017, giclee, archival inks, dimensions variable.
Image courtesy the artist.
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Hinchliffe
Sharon Hinchcliffe, At the Peril (detail), 2018, acrylic and ink on canvas, 610 x 1220mm
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Sharon Hinchcliffe works in acrylic, Sharon Hinchliffe’s works are often the trigger
ink, graphite, watercolour and collage. for stories to develop and flourish. Beginning
Strongly influenced by the ocean and
nature, her designs often take on the
with fluid painted strokes, she builds up forms
form of waves, imagined landscapes and through intricate line work and detailing,
familiar creatures. She has exhibited in creating imaginary landscapes and populated
various group exhibitions in Western
Australia and interstate, including the
with strangely familiar creatures. The sea has
2013 and 2014 South West Surveys always had a strong influence on Hinchcliffe,
at Bunbury Regional Art Gallery and and proximity to the ocean was an important
2016 South West Art Now. Her work has factor in her move to the South West. This
been recognised through a Dardanup
Arts Spectacular People Choice affinity is expressed in her work through the
Award, and Boyup Brook Art Award. Her recurrence of waves, boats and aquatic birds as
collaborative exhibition with ceramic subject matter. In her work for South West Art
artist Tracie Anderson, Salt: The Blue
Series, was shown at Bunbury Regional Now, Hinchliffe reprises these themes, though
Art Gallery in 2018. with a looseness in style that allows space for
randomness and unexpected figures to emerge
arlidesign.com.au
from her initial application of paint. The works
encourage the viewer to explore their own
relationships – with each other, themselves and
the world around them.
Sharon Hinchcliffe, At the Peril (work in progress), 2018, acrylic and ink on canvas, 610 x 1220mm
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Hines
www.patriciahines.com
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Patricia Hines, Eggs and Nest, 2017,
bisque fired paper clay, flotsam: glass, brick, stone,
coal and calcified limestone, glory vine tendrils, string,
dimensions variable. Image courtesy the artist.
Jetta
Cassandra Jetta,
Milkar Win, Wiriny Worlak
Yidjowiny (Transforming
Spirit), 2017, acrylic on
canvas, 1010 x 765mm
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www.suekalab.com
83
Komarnyckyj
Anastasija Komarnyckyj,
Cascading Light, 2017,
oil on canvas, 1520 x 1060mm
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Anastasija Komarnyckyj completed a After migration to Western Australia with my
Bachelor of Arts in Creative Industries, parents from Europe post WWII, Anastasija
with a Visual Arts Major at Edith Cowan
University, South West in 2008, gaining
Komarnyckyj’s life was spent in both rural and
the prize for Academic Excellence. Her bush settings. As a result, her formative years were
work investigates identity and culture, indelibly characterised by a strong connection
responding to the natural environment.
She has participated in numerous group
with the natural environment: the bush became her
exhibitions throughout Western Australia explorative playground.
and interstate. Since 2009, she has held
an annual solo exhibition, and opened Komarnyckyj’s arts practice contains emotive
AK Studio Gallery, Bunbury. Komarnyckyj reference, exploring the physicality of various
facilitates art classes from her studio
and has worked as an arts tutor within
media and the regeneration of life in pre-used
the community for Bunbury Regional Art materials. Her work Cascading Light focuses on
Gallery, DADAA, Art Partners and the the pneumatophores or aerial roots of an ancient
Stirling Street Arts Centre.
mangrove colony, circa 2,500 years of age, which
www.komarnyckyj.com fringe the mudflats of the Leschenault Inlet. These
humble structures assist in the respiratory process,
maintaining the health of the mangrove plants. The
regular irregularity of the root structure, its clumping
repetitive growth habit, its necessity for plant
survival and, its tenacity for existence are intriguing
to the artist, who over time has observed the
shades, shapes, and shadows of pneumatophores
transforming aspects of the Inlet waterway into areas
of intimate beauty.
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Leeming
sueleeming.com
87
Peter Little Born Perth, Western Australia; lives and works in Margaret River.
Peter Little, on the brink (work in progress), 2017, watercolour and pen, 1100 x 1600mm
89
Peter Little is a self-trained watercolour Peter Little’s work explores ways art and
artist, whose interest in painting and science can collaborate in telling stories of the
drawing has been sustained throughout
careers as an architect, academic and
environment. His work has evolved from traditional
researcher, as a pioneer of solar housing landscapes and streetscapes, to studies of the
in Western Australia, and a certified iconic Australian gum leaf in its process of decay
organic farmer in the South West. He has
shown work in Tree Species Exhibition at
and journey to living organic matter on the forest
Treeton Fine Wood Studio, Cowaramup in floor. His later work adopts a quirky whimsical
2015; South West Survey 2013 at Bunbury style, to explore the role of narrative in painting.
Regional Art Gallery; and at Print Gallery,
Margaret River in 2012. His solo exhibition on the brink attempts to show both the plight
was at Hay Shed Hill, Margaret River in
2012, where he has also exhibited with his
of the Black Gloved Wallaby, whose long term
son, Guy Little, in 2014-15. existence is threatened by fragmentation of habitat,
as well as current work being carried out by the
www.peterlittle.com
Ranges Link project to create continuous wildlife
habitat between the Porongorup and Stirling
Ranges. This painting embodies the challenge
of fitting the story of a scientific, environmental
project into a framework that has the power to
provoke curiosity, understanding and concern.
The artist is indebted to Peter and Susie
Luscombe, for sharing their knowledge, showing
him around their rehabilitation projects and for
challenging his many assumptions regarding the
natural environment. This work would not have
been possible without their breadth of knowledge
and experience.
90
Elisa Born 1964, Gorlice, Poland; lives and works in Margaret River.
Markes-
Young
“Sometimes I think we all have embedded in the Drawing on her childhood memories of a festive
brain a personal space like a home we’ve lost Poland, Markes-Young creates works of nostalgic
that lingers in our skulls (...) This place and (the) celebration. She aims to create something that to
people - they’re like elements or primary colours, her feels like the place she remembers. The shapes
forming and haunting our lives. (...) (T)he original and patterns she creates reference traditions and
place isn’t ideal, just primary, saturating your child rituals known to her since childhood and are still
sensibility like the first exposure of film; if that very much part of her life. The work conveys what
place is then lost it settles in the brain rare and she wants to say about memory and recollections.
fantastic.” Indeed its fragility - the paper elements, delicate
paper cuts and chains, the lace, sugar and wafers
- Jane Allison - reinforce its conceptual value.
The Original Place is a result of homesickness
and a profound feeling of displacement and loss,
however it is not about anguish. It’s about the
nostalgia of childhood memories and how they
colour the way you look at things throughout
your life.
www.zebra-factory.com/emy
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Elisa Markes-Young,
The Original Place 2/2018 (work in progress),
paper, fondant, wafers, textiles, 1500 x 1500mm
(Photo by Elisa Markes-Young)
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Maumill
Barbara Maumill, Garden Gate (detail), 2017, acrylic on canvas, 100 x 100mm
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McBride
Sarah McBride works primarily in oil Sarah McBride’s latest series of artworks
on canvas, with a focus on portraiture. incorporate classic genres, using animals as their
Her group exhibitions include Art
Extraordinaire, 2016 and 2017; Winners
main subject in a surreal narrative to highlight
of Dardanup Art Spectacular 2017, at environmental and contemporary issues. The
Collie Art Gallery; Stirling Street Art works reference the complex stories told by the
Centre Christmas Fair 2016; and she
exhibits regularly with Australind Art
works of the old masters and Pre-Raphaelites,
Club. In 2016, she won the people’s drawing on McBride’s previous career as an
choice award at the Brunswick Show environmental journalist by incorporating the
and the Bunbury Show. McBride also issues of sustainability and inequality that are
works as a tutor at Stirling Street Art
Centre, and has been a mentor with close to her heart.
Art Partners, Bunbury. Her first solo
exhibition will be at Bunbury Regional Each of McBride’s works in South West Art Now
Art Gallery in October 2018. is inspired by a classic painting: The Bird with the
www.sarahmcbrideart.com Pearl Hook is based on the Girl with the Pearl
Earring by Johannes Vermeer. It highlights our
disregard for wildlife, leaving detritus without
a thought of the consequences. Less-home is
inspired by the cityscapes of Edward Hopper,
and highlights the diminishing habitat of native
animals. The city scape is from Bunbury and
the two shops indicate two opposing views. A
solitary Dingo crosses the hot tarmac, his tail
between his legs indicative of his vunerability.
95
Sarah McBride, The Bird with the Pearl Hook, 2017, oil on canvas, 45 x 355mm
McLauchlan
www.hotchingallery.com.au
98
Lesley Born 1945, England; lives and works in Yallingup and Perth.
Meaney
Lesley Meaney’s practice is predominantly driven by a deep
appreciation and respect for the Australian landscape, particularly
the intricate detail and pattern found in nature. Much of her work
shares a common theme of travelling, hunting, and experimentation,
of understanding different cultures, looking back and looking
forward. Her series of works The Studio Nude, The Naked Model
have a connection with these ideas through their use of the
recycled wooden case. Cases, bags and chests of all kinds can
be understood as signifiers of mobility, displacement and duality.
Luggage can mark the end of a journey, or symbolise a historical
moment of rupture, after which familiarity is lost. Meaney’s cases
are the canvas on which she has realised a series of life drawings.
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Lesley Meaney, The Studio Nude,
The Naked Model, #1, 2017,
mixed media inside and outside recycled
wooden cases, 32cmHx74cmWx63cmD
Sarah Mills writes: “As a South West practitioner, Using deceased and living wildlife, and parts of,
I feel it’s extremely important to remember place collected and photographed in the South West,
and space, and to respect the history of this Mother’s Bones is a metaphorical exploration
place throughout all aspects of time.” questioning how European intervention, which is
said to have done wonders for Australia with all
Her work speaks about humanity and the its knowledge and technological advancements,
environmental condition, and contains an has actually caused cultural and environmental
underlying theme about the relationship, and degradation and a threatened ecosystem which we
disconnect, between Indigenous and European are currently seeing at present in this region. For
Australia; the native and the colonised. It considers example, the number of possums in particular dying
the effects of colonisation, genocide, where we on our roads is peaking and the species is expected
are in the present, and how colonisation has to be extinct within 20 years. How can 200 years
affected our environment. Mills aims to contribute of European existence outweigh 80,000+ years of
to bridging the gap between the two cultures traditional knowledge and practices?
and to incite awareness of the environmental
degradation this segregation has caused and is
continuing to cause.
101
Sarah Mills, Mother’s Bones, 2017, photograph, 40” x 47”. Image courtesy the artist.
102
Peter Moir, Twin Falls - King George River, Kimberley WA, 2017, acrylic on canvas, 1820 x 1220mm
103
www.petermoir.com
Moncrieff
Deanna Born 1986, Bunbury, Western Australia; lives and works in Bunbury.
Mosca
Deanna Mosca, Particles, 2017, acrylics and oils on drawn canvas, 770x610x40
108
Perrier
Kim Perrier has been extensively involved with
creating and exploring new technologies for
sculptural purposes and has developed seven
unique sculptural styles over the years. He has
worked with a diversity of material including,
bronze, cast lead, crystal glass, stone, wood,
plastics and precious metals. His current work is
with bark and charcoal, centred on the depiction of
the human form. Entitled Carbonature, this series
uses a carbon-based process to create human
bodies emerging from charred Jarrah logs, which
Perrier finds in the bush. The work celebrates
carbon as the element that is present in all life
on earth, highlighting the connection between all
living creatures. The sculptures evoke a sense of
the fantastique: the intrusion of unexplained and
inexplicable phenomena into an otherwise realist
narrative. Perrier writes:
“Artists are explorers of realms that lie between
the known and the yet unseen. I ask you to look
beyond what you think is there and explore deeper
for a fresh understanding.”
Kim Perrier, Carbonature Series 2017 #2, 2017, Kim Perrier, Carbonature Series 2017 #3, 2017,
jarrah, charcoal, galvanised steel, granite, 2700 x 700 x 500mm. jarrah, charcoal, galvanised steel, granite, 2700 x 700 x 500mm.
(Photo by Kim Perrier) (Photo by Kim Perrier)
110
Peterkin
Posa
laurieposa.com
113
Laurie Posa paints precisely delineated rural His work Resurrection visualises the rise of
and industrial landscapes, working in a highly technology and the way in which it has shaped
finished and detailed style. He has a love of our existence, from the pyramids through to the
the absurd, especially when it is combined with industrial revolution. Where technologies have
irony and ambiguity. He is a keen observer of fallen, others have risen from the debris, stronger
society, and his works often form narrative and more intelligent. Posa questions the role
threads addressing environmental sustainability humanity plays in this evolution of technology:
or the human condition. His goal is to challenge are we as a species just a disposable step in the
and provoke thought on the part of the viewer, evolution of a cyber intelligence, or is it for the
without being patronising or didactic. greater good of humanity?
114
Reid
Abigail Reid, Urban Density Land & Sea (detail), 2017, oil on canvas, 1700 x 1200mm
116
Rorke
117
Amy Rorke is a prolific maker, bringing an Amy Rourke has worked as a designer
since 1996, traveling the world
aesthetic sense developed through years extensively and working in London,
working as a designer to her great many Toronto, Ireland, New Zealand and Peru.
creative pursuits, from painting to embroidery While in Peru, she combined design work
with philanthropy, publishing a photo
to producing a range of products from her work book and raising $10,000 for community
as a beekeeper. After travelling and living in development. She is now a member
over seven countries in the past twelve years, of the Margaret River Artisan Store
collective, and is developing her painting
Rorke’s return to Western Australia brought with and fibre-textile-based art practice.
it opportunity to turn to a more contemplative
pace in her art. Her current location, while
isolated, is surrounded by bushland, giving her
ample opportunity to observe and appreciate
the native birds that flock to her garden. Amy’s
bold portraits capture the intimate moment of
encountering a bird at close quarters. Made from
gouache and watercolour on cotton, with hand-
embroidered details, each painting presents a
frank and open study of an individual creature.
118
Royce
elizabethroyce.com
120
Ryce
Sahm
Helena Sahm’s work investigates concepts within Her work in South West Art Now explores
a broad theme of ‘Living Here Not There’. This the metaphysics of buildings and the human.
stems from her move from Sydney to the relative Constructed environments influence our
isolation and sheltered life of South West Western experiences and affect our responses. The actual
Australia. Her work uses the built environment to and the remembered or imagined play with our
explore themes of buildings and houses: where perceptions and alter the context in which we
they are, what they contain, the environment they might experience our surroundings. The buildings
are in, what they symbolise, their condition and and constructions in her work are conceptual,
how we respond to them. realist and deconstructed representing our own
shelter, the buildings from broader cultures and
what may be destroyed by external forces or
reconstructed to remember or reinvent. She
expresses this through making works that connect
with a human presence, existing in a scale that
creates a physical relationship with the viewer.
Helena Sahm trained at NSW College
of Fine Art (Alexander Mackie CAE) and
East Sydney Technical College (National
Art School). She moved to Bunbury in
2002. She has worked as an art educator,
arts manager, gallery director and now a
full-time artist. Sahm has held positions
on the boards of arts organisations that
focus on regional arts practice, exhibitions
and projects. She is a multidisciplinary
artist often combining techniques and
media through constructed and applied
processes in both two-dimensional and
three-dimensional artworks.
helenasahm.com
123
Helena Sahm, Binary Restructure (Architecture Review), 2017, timber, closed cell foam,
paper, cardboard, ink, graphite, paint, 2500 x 1500 x 400
Sanders
Margaret Sanders makes linoprints and print Sandplain heath, near ephemeral water and
installation works, which feature found objects Under changing skies (floribundance) depict
and plant material. Her work explores the natural plants of a low open-shrubland with an elusive
and cultural histories of plants and landscapes, shimmering skyline. The artist made these
with her floricultural inquiries responding to the linoprints in response to visiting Cape Le Grande
challenge of Georgiana Molloy’s words: “The National Park, near Esperance. This dry sandy
plants have no association, nor does anything country and its dense floristic landscapes has
attract but their lustrous colour”. been shaped over time, by the vagaries of wind
and water.
Margaret Sanders, Sandplain heath, near ephemeral water, 2017, Two-part linoprint, 150 x 465mm
125
Schulyta
Karen Born 1964, Perth, Western Australia; lives and works Boallia.
Seaman
Karen Seaman, Interlacing (detail), 2018, ink, pencil, watercolour and fungi spore prints on 100% cotton rag paper laminated on wood, 900 x 2440mm
129
Karen Seaman constructs large images Much of Seaman’s work is concerned with the
expressive of the immense complexity of environmental degradation she witnesses on her
Australian bush ecosystems. Her current daily walks around her Boallia property. Her work
work explores the link between fungi and Interlacing springs from her finding a discarded
plant kingdoms, which recent discoveries circuit board during one of these walks. Intrigued
in microbiology indicate are more closely by the dissonance of finding this object so deep
connected than previously thought. Her in the bush, this incident was the catalyst for this
works incorporate processes of observational series of works on paper, which are presented
drawing, staining watercolour paper with various laminated onto wooden panels. The work creates
teas and creating delicate prints of pale and an opposition between a construction of nature
dark fungi spores, by pressing the underside of as raw material for technical operations, and a
collected specimens onto contrasting paper. richer understanding of a world in which humans
The resulting images are intricate and detailed are fundamentally imbricated in the natural realm.
illustrations demonstrating the complex
interrelationships between technology, nature
and biological processes.
130
Seiver
www.helenseiver.com
131
Smith
Smorthwaite
Sue Smorthwaite,
A Blot on the Landscape I
(detail), 2017,
hand-made wool felt,
natural found wood, metal
and threads, 180x100x60
135
Sue Smorthwaite is a mixed media and Excited by the huge potential for handmade felt
textile artist, with a focus on handmade as an artistic medium, Sue Smorthwaite draws
felt as an artistic medium. She works
mainly with Merino wool for much of her
inspiration from nature and objects around her,
fine felt work and art-to-wear pieces, and with pattern and colour an important factor in
the coarser wools such as Corriedale her work. She often explores different ways of
for her larger sculptural artwork. She
has exhibited as part of the 2013 and
combining found objects into her textile work.
2015 South West Fashion Festival; 2013, A Blot on the Landscape uses various surface
2014, 2016 and 2017 Sculpture by the techniques to mimic the shapes and textures
Bay, Dunsborough; and was a finalist in found in native trees when under stress.
the 2014 and 2015 Common Threads
Wearable Art Competition, awarded Smorthwaite incorporates found branches
Highly Commended in 2016. Her work has and gumnuts into the sculpture to mimic the
appeared in international magazines and bulbous cankers found on diseased eucalypts.
is sold at the Studio Gallery in Yallingup.
Disguised by being soft and innocuous, the felt
grows and encases the hard, sharp features
of the wood it envelops. In this way, the work
establishes a productive tension between the
inviting softness of wool and a reflexive horror
of contagion. By highlighting the ways in which
natural features of the environment become
changed by and adapted to parasitic invaders,
Smorthwaite questions how we understand our
own impact on the landscape.
136
Tippett
Monique Tippett, Silence, 2017, eucalytus timber veneer, ink, lacquer on board, 1100 x 2380 x 100mm. Image courtesy the artist.
Monique Tippett is a prolific artist, who draws Tippett’s works are made from Western Australian
on her qualifications in fine furniture making to endemic timbers, including inks, acrylic, balga
produce work inspired by the natural landscape resins, charred, gold/silver leaf and tinted
of the South West of Western Australia. Her lacquers. They seek to capture the moods of
practice has developed in close connection the forest; the evocation of landscape through
with the environment and community of the subtle linear geometry and reflection of
Dwellingup, through her past connection to light is joined with the tactile language of bark
the Australian School of Fine Wood, and her and timber whose surfaces and texture provide
present work establishing a gallery and artist a more intimate and material connection. Each
residency program in the town. piece transcends the two dimensional image
and many span the gap between painting and
Silence continues her exploration of the light, sculpture. They are enigmatic, finely crafted
texture and form of the forest. Tippett writes: “The objects that hold the viewer in place, and asks
forest is a multi-faceted world. It has a primitive them to consider their own relationship with
energy and dark beauty that can often hold us the natural world.
at bay, but its alluring light and winding pathways
with their promise of discovery draw us in.”
138
Wilder
chloewilderart.com
139
Chloe Wilder, Untitled VIII, 2017, oil on canvas, 1500 x 1500mm. Image courtesy the artist.
140
Young
Christopher Young,
Eight #34, 2017,
inkjet print in an edition
of five, 800 x 640mm
Christopher Young,
Eight #31, 2017,
inkjet print in an edition
of five, 800 x 640mm
Lists of Works
Crispin Akerman, Copper Bowl, Annette Davis, Sentry, 2017, Paul Elliott, Feather Bowl, 2017, LPG gas
Seasonal Flowers & Pears, 2017, charcoal pencil on canvas on board, bottle-cylinder, 120 x 240 x 240mm
oil on linen, 410 x 610mm 2300 x 1700mm
Paul Elliott, Fruit Bowl, 2017, LPG gas
Alice Alder, Be Here, 2017, Merle Topsi Davis, Sea Enemies, 2017, bottle-cylinder, 140 x 240 x 240mm
mixed medium on canvas, 760 x 760mm salvaged fishing rope, nets and floats
woven over welded steel frames, 1000 Ashlee Faber, Untitled, 2017, fumage on
Tracie Anderson, Untitled, 2018, x 500mm litho paper, 762 x 2446mm
porcelain and found objects, three
vessels: Ø 300 x 400, Ø220 x 320, Tony Davis, Mantle, 2017, Jarrah, 1800 x Renee Farrant, concerning water, 2017,
Ø180 x 200mm 450 x 400mm roots of plants, 150 x 150mm
Tom Ansell, Dry Landscape, 2017, Aimee Dickson, My Inner World #1-6, Andrew Frazer, Hope on the Horizon,
oil on linen, 135 x 180mm 2018, pen, pencils, texta on paper, 400 2018, acrylic and ink on cold pressed
x 500mm each paper, 950 x 720mm
Tom Ansell, Twirl Cloud, 2017, oil on
linen, 135 x 180mm Cynthia Dix, Flora Australis, 2017, acrylic Richard Fry, River bed, 2018,
on canvas, 1220 x 900mm recycled steel rod, wire and recycled
Christine Baker, An Uneasy Existence, glass ‘diatoms’, 1830 x 1300 x 200mm
2017, acrylic on canvas, clay glaze, Jenni Doherty, Oceans of Uncertainty,
oxiden found objects, drawing collage 2017, oil, lino, gold leaf on canvas, Richard Fry, In your bed and lie in it (to
photocopy, dimensions variable 900 x 1200mm the memory of my invisible grandmother,
Mary Ann Thompson), 2018, recycled
Christine Blowfield, Endless Serenity, Jenni Doherty, Oceans Of Uncertainty - steel rod, wire and recycled glass
2107, acrylic paint on clear acrylic, 1000 Big Bad Night, 2017, oil, lino, gold leaf on ‘diatoms’, 1500 x 900 x 900mm
x 1000mm canvas, 18 panels, 300 x 300mm each
Richard Fry, More examples of invisible
Jeana Castelli, Meltdown, 2018, acrylic Jenni Doherty, Oceans Of Uncertainty - life (triptych), 2018, oil, acrylic and mixed
on canvas, 1052 x 920mm Fecund Sea, 2017, acrylic, oil, lino, media on board, 215 x 250mm each
gold leaf on canvas, 18 panels,
Rebecca Corps, Looking In, 2017, steel, 300 x 300mm each Anne Grotian, Shades of the past, 2017,
grass, fabric, 800 x 1000 x 800mm installation, dimensions variable
Yvonne Dorricott, Coastal Flags, 2017,
Molly Coy, Lands and Capes, 2017/18, etching on BFK paper, woodcut on dyed Roslyn Hamdorf, Canal rocks in winter,
artist book, works on paper, 380 x fabric, 1800 x 2000mm 2017, acrylic on canvas, 2100 x 910mm
820mm
Tanya Downes, Life in the Balance, 2018, Sam Harris, Neighbours 1-4, 2017, archival
Molly Coy, Campsite Day, 2017/18, wood/mixed media, digital prints, 400 x 500mm each
mixed media on canvas painting, 820 x 580 x 350 x 350mm
350mm Catherine Higham, Drift, 2017, giclee,
Paul Elliott, Handbasket, 2017, LPG gas archival inks, dimensions variable
Molly Coy, Campsite Night, 2017/18, bottle-cylinder, 300 x 240 x 240mm
mixed media on canvas painting,
820 x 350mm
143
Sharon Hinchcliffe, At the Peril, 2018, Elisa Markes-Young, The Original Place Deanna Mosca, Particles, 2017, acrylics
acrylic and ink on canvas, 610 x 1220mm 2/2018, paper, fondant, wafers, textiles, and oils on drawn canvas, 770x610x40
1500 x 1500mm
Sharon Hinchcliffe, Of Nature, 2018, Kim Perrier, Carbonature Series 2017 #1,
ink, graphite, charcoal, pastel on canvas, Barbara Maumill, Yellow Robin, 2017, 2017, jarrah, charcoal, galvanised steel,
610 x 610mm acrylic on canvas, 30 x 40mm granite, 1900 x 400 x 300mm
Patricia Hines, Eggs and Nest, 2017, Barbara Maumill, Garden Gate, 2017, Kim Perrier, Carbonature Series 2017 #2,
bisque fired paper clay, flotsam: acrylic on canvas, 100 x 100mm 2017, jarrah, charcoal, galvanised steel,
glass, brick, stone, coal and calcified granite, 2700 x 700 x 500mm
limestone, glory vine tendrils, string, Sarah McBride, The Bird with the Pearl
dimensions variable Hook, 2017, oil on canvas, 45 x 355mm Kim Perrier, Carbonature Series 2017 #3,
2017, jarrah, charcoal, galvanised steel,
Patricia Hines, The Vanished Birds, 2017, Sarah McBride, Quindalup Wane, 2017, granite, 1600 x 500 x 300mm
ceramic, asbestos, calcified limestone, oil on canvas, 610 x 760mm
bone flotsam, steel, Jarrah and Perspex, Geraldine Peterkin, Karijini 1, 2017, fibre,
under glazes, slip, grout & steel, 380 x 180 x 450 x 450mm
200 x 320mm Sarah McBride, Less-Home, 2017,
oil on canvas, 610 x 915mm
Geraldine Peterkin, Karijini 2, 2017, fibre,
Patricia Hines, Beach Bird, 2017, 150 x 340 x 340mm
glory vine, cable ties string, flotsam and Serena McLauchlan, Jewel, 2018,
jetsam, 600 x 600 x 1600mm holographic tape, 2500 x 3000mm
Geraldine Peterkin, Karijini 3, 2017, fibre,
Lesley Meaney, The Studio Nude, The 110 x 330 x 330mm
Cassandra Jetta, Milkar Win, Milkar
Moolyak (New Life, New Beginning), Naked Model, #1, 2017, mixed media
2018, acrylic on canvas, 900 x 400mm inside and outside recycled wooden Laurie Posa, Resurrection, 2017,
cases, 32cm (H) x 74cm (W) x 63cm (D) oil on board, 1200 x 670mm
Sue Leeming, Generational Loss, 2018, James Ryce, A Bright Heart, 2017,
graphite on Hahnemuhle, 1000 x 1000mm Paul Moncrieff, Paint System PM, 2017, Jarrah, 250 x 180 x 50mm
acrylic paint on plywood; together with
glass jars timber, metal hooks, transfer
Peter Little, on the brink, 2017, vinyl lettering, 1280 x 1400 x 200 mm James Ryce, Unbreakable, 2017,
watercolour and pen, 1100 x 1600mm Sheoak Coolimon, 260 x 60 x 30mm
144
Helena Sahm, Binary Restructure Stephen Schulyta, Hybrid Fascism, 2017, Sue Smorthwaite, A Blot on the
(Architecture Review), 2017, oil on board, 375 x 330mm Landscape III, 2017, Hand-made wool
timber, closed cell foam, paper, felt, natural found wood, metal and
cardboard, ink, graphite, paint, Stephen Schulyta, Morning at Binningup, threads, 180x100x60
2500 x 1500 x 400 2017, oil on board, 380 x 300mm
Monique Tippett, Silence, 2017,
Helena Sahm, Metaphysical Still Life Karen Seaman, Interlacing, 2018, ink, eucalytus timber veneer, ink, lacquer on
with Manufactured Rubble, 2017, closed pencil, watercolour and fungi spore board, 1100 x 2380 x 100mm
cell foam, paper, charcoal, paint, plaster, prints on 100% cotton rag paper
acrylic panels, 500x594x1600 laminated on wood, 900 x 2440mm Chloe Wilder, Untitled VIII, 2017,
oil on canvas, 1500 x 1500mm
Helena Sahm, Mnemonic Abodes #1, Helen Seiver, Gross Domestic Product
#2, #4 2017, concrete, found materials, Series (V), 2017, welded riggers, wire Christopher Young, Eight #31, 2017,
dimensions variable. and found shovel heads, 1800 x 300 x inkjet print in an edition of five,
100mm 800 x 640mm
Margaret Sanders, Sandplain heath, near
ephemeral water, 2017, Gracie Smith, Untitled, 2018, installation, Christopher Young, Eight #34, 2017,
Two-part linoprint, 150 x 465mm dimensions variable inkjet print in an edition of five,
800 x 640mm
Margaret Sanders, Under changing skies Sue Smorthwaite, A Blot on the
(floribundance), 2017, Two-part linoprint, Landscape I, 2017, hand-made wool felt, Christopher Young, Eight #35, 2017,
150 x 465mm natural found wood, metal and threads, inkjet print in an edition of five,
180x100x60 800 x 640mm
Margaret Sanders, Binomial Tree, 2017,
Tree branches (Melaleuca sp.) linoprint, Sue Smorthwaite, A Blot on the
cut paper, 900 x 700mm Landscape II, 2017, Hand-made wool felt,
natural found wood, metal and threads,
Stephen Schulyta, Coongan River at the 180x100x60
Jasper Bar, 2017, oil on board,
320 x 335mm
145
Acknowledgments
Alisa Blakeney,
Exhibitions Curator Events Sponsor
Michele Grimston,
Education and Communications Officer
Simon Long,
Exhibitions Officer
Caroline Lunel,
Collections Curator/Registrar
Sam Beard,
Daniel Kus,
Stephanie Lloyd-Smith,
Suellen Turner,
Gallery Attendants
www.brag.org.au
ISBN: 978-0-9953569-8-6