DesignFreo: Object, Space, Place looks at Fremantle through the lens of design and draws attention to how design shapes our experiences as individuals and as a community. The exhibition explores our relationship to designed objects, spaces and places and features local architects and furniture makers, and fashion, industrial, interior and graphic designers.
We recently caught up with Pippa Hurst, founder of DesignFreo and curator of Object, Space, Place, to find out more about the exhibition and Pippa’s vision. You can hear from Pippa and a whole slew of Fremantle designers at a FAC Artist Talk tomorrow night.
Hi Pippa, you’re the founder of DesignFreo. What inspired you to create the organisation?
DesignFreo was created as a platform to shine a light on our city’s thriving design community. We’re a small town but we have a high concentration of talented designers, working and winning awards across every discipline. These include architecture, interiors, landscape, fashion, communications, product and digital design.
DesignFreo aims to make this work more visible and accessible. Our events, workshops and exhibitions create opportunities to see what these designers do, hear their ideas and join a broader conversation about why it’s important. Good design brings joy to the every day and also tackles the bigger challenges facing our communities – both thrown into sharp relief in 2020.
Sharing local stories adds another layer to our city’s rich creative identity and strengthens our connection to the place where we live. In a time of global pandemic, it can also build economic resilience. A passionate team of local creatives has worked hard to get DesignFreo up and running. We’re all volunteers who care deeply about the future of our town and our planet.
Can you tell us about DesignFreo’s first exhibition Object, Space, Place and the vision behind it?
Object, Space, Place celebrates everyday design in the context of our unique geographic location. Three galleries offer three different experiences, all drawing attention to how design shapes our lives and reflects particular values.
We all make myriad design decisions in a day – we choose what to wear, use, buy and discard. These design decisions, and the legacy they carry, radiate outwards from the individual to the communal to the global. This idea forms the conceptual framework for the show.
The main gallery looks at our personal objects and spaces. spaceagency architects has created a ‘house’ within the gallery, a demonstration of architecture’s capacity to offer surprise and intrigue. The installation references renovation, a common practice in Fremantle, and within the newly-created ‘rooms’ sits the work of five local designers, each expressing a different design intent. Varied in form and function, the work reveals the thought and complexity behind the design of common objects. From an electric bike to a deconstructed table, the work is linked by a common concern for our responsibility as designers and consumers to reduce carbon emissions, waste, and over-consumption.
DesignFreo: Object, Space, Place opening night. Squarepeg home table design. Photography by PIxel Poetry
In Gallery 3, Penhale & Winter shift the design focus from the personal to the communal. Shadow Space is an immersive, site-specific installation that draws attention to the strong relationship that Fremantle has with the physical matter on which it is built. Referencing the verandah as an in-between space, the work invites consideration of how design shapes our sense of place in the wider city, where contrasts between limestone and timber, public and private, open and closed, influence how we feel. A map on the accompanying floorsheet encourages moving beyond the gallery and into the city itself.
Penhale and Winter, Shadow Space, 2020. DesignFreo: Object, Space, Place exhibition opening. Photography by Pixel Poetry
In the Kathleen O’Connor Gallery, What’s My Type? brings a playful tone to another aspect of design we encounter every day but often give little thought to – typography. Isabel Kruger’s photographs in the hallway feature local found type. Inside the gallery, Becky Chilcott’s super-sized characters offer a fresh perspective on the familiar, inviting visitors to identify the typeface that best aligns with their own personality as a fun way to explore the way type communicates.
DesignFreo: Object, Space Place exhibition opening. What’s by Type. Photography by Pixel Poetry
As a whole, the exhibition invites audiences to slow down and look at the world through a design lens. Questioning the provenance and values embedded in everything around us is an opportunity to engage more deeply with everyday life and elevate the ordinary. Embracing local design strengthens our connection to place and our community’s capacity to be more resilient – ‘buy once, buy well, buy local’ rewards the individual and the collective.
Fremantle is home to a bustling creative community. Why do you think creativity thrives in the port city more so than other areas in Perth?
Frremantle has a long history as a creative hub. The artists came when real estate in the working port was cheap and laid a strong creative foundation that is now deeply embedded in our city’s culture, despite the rocket in property prices!
Creatives are drawn to Freo’s cultural diversity, urban fabric, progressive politics and coastal lifestyle. I think a lot of people who leave Perth come back to WA and see Fremantle as the closest thing to the vibrant, gritty urban environments found in bigger cities, with the added attraction of the river and ocean. The city’s scale promotes a connected, tight-knit community. And like attracts like – our creative community continues to grow. Being able to collaborate with other creatives is a big drawcard.
What can visitors expect at tomorrow’s event?
I’m really looking forward to introducing the designers who are in the show and sharing some of the stories behind their work. I could easily talk to each of them for an hour – there are so many layers to what they do, from the pragmatic to the political. But I promise to keep to a time limit!
After the talk audiences will be able to explore the show, where the designers will be alongside their work to answer questions or just have a chat. It’s a great opportunity to meet some talented local creatives and learn more about what they do and how it might be of benefit in your own life.
What does 2021 have in store for DesignFreo?
We’ll be building on our events program, including a weekend design festival that was postponed earlier this year. We’ll be continuing our Conversations series, where we pair up designers from different disciplines who have collaborated on interesting projects – we’ve already got some amazing graphic designers, filmmakers, landscape designers and fashion designers lined up.
We’ll also be inviting audiences on-site to view new architectural projects as they are completed. And telling more design stories on our website – subscribe to stay in the loop on upcoming events, and keep an eye on our socials. We are excited about all the great design being created in our town and all the things we have to share.
Want to know more? Join us Wed 9 Dec for the exhibition talk.
Buy tickets
Stall: Juluwarlu
Website: www.juluwarlu.com.au
Instagram: @juluwarlu
Based in Roebourne, Juluwarlu is an organisation dedicated to preserving, recording and promoting the culture of Yindjibardni people. Works created at Juluwarlu span multiple platforms including audio, video, documents and photos. Juluwarlu offers traineeships for local people in cultural preservation, trips on Country and artist residences. The Arts Centre also produces documentaries, radio, TV and books and provides a space for the community to relax, feel safe and come together.
We recently caught up with some of the Juluwarlu artists travelling to Fremantle for Bazaar. Be sure to visit their stall and find out more about their work.
Margaret Read (artist)
Margaret Read painting on country. Image courtesy Juluwarlu
Hi Margaret, can you tell us a bit about yourself and what you’ll be selling?
I’ll be coming down to Fremantle to sell some of my paintings I do at Juluwarlu.
How do you make your works?
I usually get a vision or idea in my head and then I start. I start with an outline and then I start painting it. I’m kind of new at being an artist, I really only started last year (2019).
Why is it important to support local makers?
Because they put in the time, patience and hours to achieve good results.
What’s your top gift tip this Christmas?
Sharing and caring!
Judith Coppin (artist)
Judith Coppin painting in the studio. Image courtesy Juluwarlu
Tell us a bit about yourself and what you’ll be selling?
I’ll be selling some of my art and my boards.
How do you make your works?
I sit down for weeks and do a big painting. Then I’ll go back to my board then think about my painting and then go back to painting. I paint about Ngurra. I like painting about my Country, it’s good to paint about your country, it reminds you of being back there.
Why is it important to support local makers?
It is important to share our art and culture with other artists from different places.
Wendy Hubert (artist)
Wendy Hubert Painting in the studio. Image courtesy Juluwarlu
Tell us a bit about yourself and what you’ll be selling?
I’ll be selling my pictures of trees.
How do you make the works?
I’m still learning! But I’m getting it slowly. I always painted by myself at home or on Country but now since I’ve started at Juluwarlu I am more focused.
Bazaar runs 5–9pm Fri 4 Dec | 9am–5pm Sat 5 & Sun 6 Dec
Stall Name: ka:ke
Website: www.makekake.com
Instagram: @make.kake
Ka : Ke designers Kate Rae and Kerry O’Flaherty. Image supplied
Tell us a bit about yourself and what you’ll be selling?
ka:ke is an artistic collaboration between us – Kate Rae and Kerry O’Flaherty.
Drawing on our background in the architecture and design industry, ka:ke is our joint exploration into creating smaller objects of art to decorate both the body and the home. We explore mixed media, object design, ranging in scale from small and intricate jewellery to large sculptural pieces, with a focus on sustainable and considered design and fabrication.
As well as our developing range of jewellery we have been commissioned to create sculptural pieces for clients such as the Ritz Carlton and are currently designing a range of bespoke everyday objects.
We will have a selection of our sculptural wares and unique jewellery for sale, some new one-off pieces and some timeless old favourites!
How do you make the works?
All our work is designed and carefully handcrafted by us in our Leederville studio. Our work is inspired by the beauty and tactility of different raw materials, patinas, texture and colour, and focuses on a strong geometric language, simple lines and bold shapes. Our process starts as an exploration in form and composition – balancing shape, colour, and movement, using a combination of new, semi-precious raw materials and re-purposed industry offcuts.
Creating our pieces often begins by rummaging through our treasure of studio materials to fashion into large sculptural forms, kinetic mobiles, or delicate objects of wearable art. Our process is based on zero waste, and new designs are often generated from the offcut of the last piece created. Our jewellery, in particular, explores the idea of adaptability, with some pieces sold as separates, or interchangeable pieces to encourage longevity and personalisation.
Our jewellery uses predominately recycled sterling silver, oxidised sterling silver, jewellery grade raw brass and titanium. Our mobiles and sculptural wares are assembled from a mix of new and upcycled materials in raw brass, salvaged copper, oxidised copper, aluminium, wood, ceramics, and acrylic pieces. We love that something precious can come from such humble beginnings.
Ka:ke Earrings. Image courtesy the artist
Why is it important to support local makers?
Supporting local strengthens our community and enables connection directly to the maker.
It is a great feeling getting to speak to the maker directly and learn about the process and story. You know that these are special pieces, which are carefully created with a lot of love, joy (and tears sometimes!).
Importantly, there is a traceability and hopefully a better understanding of the supply chain and sustainability of the product.
What’s your top gift tip this Christmas?
2020 will be a year to remember, and where we spend our money is more important than ever for a lot of us. So, buy it because you love it, not because you have to buy a gift. Give something with a local story, unique and designed and made to endure the test of time.
What makes Bazaar stand out from other markets?
The incredible location, the curated and considered selection of artists and makers that offer diverse and high-quality unique products, and the fantastically well-organised event by the FAC staff. And ultimately the committed, supportive, and loyal return customers that come because of this.
Bazaar runs 5–9pm Fri 4 Dec | 9am–5pm Sat 5 & Sun 6 Dec
Stall: KIN SWIMWEAR
Website: https://kinswim.com.au/
Instagram: @kinswim
Tell us a bit about yourself and what you’ll be selling?
Hi, I’m Mon from just up the road. I’m the designer for sustainable swimwear label KIN SWIM. The new collection is also made here in Western Australia, I’m looking forward to sharing them all with you. KIN is dedicated to the beach bums and those who want to spend endless summers in their bathers. The brand was inspired after many long days in the sun, and a series of bad surfing also knows as “surviving” incidents. I wanted to design rashies that people wanted to wear. I’m not a designer by trade, just a health science nerd with a huge passion for fashion and the environment. There’s been a tonne to learn on this journey but here we are.
Mon Bossie, designer of label Kin Swim, in her studio
How do you make the works?
Finding a maker is really tough, so I can’t give away all of my secrets. Basically, my drawings and ideas are turned into dream suits through a series of chopping and changing until they are just right.
I am hoping to bring in custom sizing soon for those that have trouble finding the right fit. If that’s you come and have a chat.
KIN uses only the highest quality regenerated fabric, which can be limiting in regards to colours and textures, but it’s really coming along leaps and bounds since I began which is really exciting. It’s nice to see there’s a movement towards more eco-conscious options. The block colours selected have been inspired by mother nature, the earth, the air, the sea. The prints are designed here and by friends abroad, this season’s prints have a real retro vibe.
Kin Swim designs. Image supplied
Why is it important to support local makers?
How cool is getting to tell a story about your garment, artwork, or knick-knacks? I find it helps bond that connection with your community and supporting local gives you warm fuzzies… But I didn’t need to tell you that!
What’s your top gift tip this Christmas?
Gift something that they will cherish for a long while and let your clothes represent your ethos.
Bazaar runs 5–9pm Fri 4 Dec | 9am–5pm Sat 5 & Sun 6 Dec
Current Artist in Residence Lucille Martin combines iPhoneography, photo-media, textile & performative practice exploring themes related to the social psyche, natural landscape and deep ecology. Using her iPhone as an extension of the body she captures images while walking and exploring the natural and urban landscape in Australia and overseas.
Ahead of this weekend’s Artists in Residence Open Studio we caught up with Lucille to find out what’s been working on in the studio.
Hi Lucille, can you tell us a bit about your career to date?
I’m a multi-disciplinary artist working primarily in iPhoneography and photo-media collage with a range of materials from textiles to found objects. Materiality is foundational to my practice stemming from an early interest in surrealism in my late teens and a desire to explore new territories, to disrupt and question the relevance of historic and implied traditions and troupes, particularly in photography.
Often in parallel is how material, method and theme are consciously and unconsciously working together. Curator Paola Anselmi and the late John Stringer were two WA curators that identified my work early on in Perth. Of my work, Paola said, “Martin’s fundamental interest in the evolution of a social psyche through the analysis of her personal experience remains a recurrent theme in her work…”.
A significant amount of works during my career were essentially driven by the ingenuity and good partnerships of curators in Perth and regional NSW, with a majority under the curatorship of Artistic Director Stephen Alderton (Director of National Art School, Sydney).
These relationships informed and built on my process beyond formalities of the genre to new platforms. If you look at my website it’s clear to see where good direction influenced my process. It was a completely different experience to be making works for thematically and academically aligned exhibitions to working on major solo exhibitions, which were especially favorable while bringing up a child.
Thematically I am driven by activism to protect the environment, flora and fauna, social justice, the social psyche and where contemporary culture intersects that.
Lucille Martin, New World, Other Worlds, 2020, iPhoneography, photo-media, archival Metallic print, Facemount, 3.4m x 1.3m. Image courtesy the artist
You are part of Imaginary Territories, a group exhibition, running at PS Art Space until Sat 14 Nov. Are you able to tell us more about your work in the show?
Imaginary Territories is a successful curatorial program and career highlight under the directorship of Dr. Kelsey Ashe. As director, curator and artist of Imaginary Territories, Ashe was pivotal in driving the conceptual process of my large format body of work. It was like two energies meeting with a common and passionate topic related to surrealism. I had already been pitching the surrealist exhibition in Perth and Melbourne and the rest is her/history.
I feel like Kelsey and I had soul years together from another era, possibly in the 1930s and 40s in Paris filtering amongst the extraordinary (female) surrealists of the time. Kelsey has this sensibility to hone in on the passion of my practice, giving me breath and freedom but also allowing the performative process to evolve.
My large format work in Imaginary Territories is underpinned by my love for nature and the 18 months of travelling and photographing the natural landscape as an awarded artist in residence (AIR) throughout Australia and NZ. The images captured relate to my passion for the environment and deep ecology.
The work navigates a deeper understanding of identity, memory and place, meandering through past, present and future timelines as documenter and witness to the temporal, nostalgia and impermanence of these often delicate environments.
My imagery captures landscape and wilderness in southern New South Wales, which I captured during a Bundanon Trust AIR in 2018-2019; and two months at UTAS-School of Creative Art in Hobart where I walked southern and inland regions of Tasmania, Maria Island and Bruny Island before going up to Launceston and over to Cradle Mountain and Lake St Claire National Park as AIR at Wilderness Gallery.
Other images were captured while I studied and researched the underground lands of WA and New Zealand at Rotorua. The research component is vital, I have a thirst to explore and navigate new adventures in Australia and internationally.
My major work presents imagined territories of configured and re-configured lands with the idea of putting the lost together digitally to present time as a point of reflection and the pressing need to act for our future.
The project was funded by the Western Australian Government Department of Local Government, Sport and Cultural Industries.
Lucille Martin, Landscape sans mémoire – Covid work 1, 2020, iPhoneography, photomedia on industrial textile, metal, embroidery. Image courtesy the artist
Do you have any other residencies/exhibitions in the pipeline?
Yes, I have a few projects happening in November 2020 – April 2021.
- Mandorla Art Prize (2021 Finalist)
I’m also thrilled to have my residency at Vancouver Arts Centre, City of Albany re-instated post-COVID and will be taking part in the project in late 2020 and early 2021.
The residency project is founded on a response to discovering the detailed black and white photographic images of my father, Joseph Martin (deceased), captured in and around the spectacular Great Southern and Albany regions of WA between the 1940s and 1950s. The small collection of images depict the beauty and detail of the natural landscape, striking ocean views, vegetation, and many of the magnificent rock formations of the country he loved so much.
To find out more about Lucille, check our her website, Instagram and Facebook.
Meet Lucille at our Artist in Residence Open Studio
Running 1–5pm this Sunday 8 November, this is a wonderful opportunity to meet a variety of artists currently in residence and find out what they’ve been working on. Free entry.
The Minyma Kutjara Arts Project was initiated by the people and artists of Irrunytu. Irrunytju (Wingellina) is a small, very remote community located 10kms from the tri-state border of WA, NT and SA. Established in 1975, Irrunytju is part of the Ngaanyatjarra Lands and is home to over 150 Anangu (people) who primarily speak Pitjantjatjara language.
The centre is known for dynamic and culturally important artwork, bringing together contemporary painting techniques and media with ancient visual language and Tjukurpa (Dreaming). For this year’s Revealed Exhibition four Minyma Kutjara artists created sculptures inspired by cars.
Meet the Revealed Artists
Lynette Brown was born at Malara, west of Kanpi Community in the APY Lands of South Australia. Her parents were travelling by donkey and camel from Amata towards Mount Davis when Lynette was born. She now lives in Irrunytju and belongs to the Pitjantjatjara language and cultural group. She is the daughter of well-known artist Anmanari Brown, and is a senior artist with the Minyma Kutjara Arts Project. Brown’s sculptural works and paintings are narrative-based, telling the stories of life on Country and in community.
Old Model was inspired by the early days when white people travelled to the area in their old model cars. “There was a big bomb coming and they were taking the people to Warburton Mission so they could be safe,” she said.
Lynette Brown, Old Model, 2020, metal, plastic, acrylic paint, 23 x 34 x 57cm. Photography by Pixel Poetry. Image courtesy of Minyma Kutjara Arts Project
Sally Ann Wipana Foster was born in in 1972. Her mother and father are highly respected elders from the Ngaanyatjarra Lands of Western Australia. Foster lives in Irrunytju and belongs to the Pitjantjatjara language and cultural group. She is a mid-career artist who works across a number of mediums. The narratives in her works include stories of community life and the Country around Irrunytju Community. She also makes tjanpi (grass) sculptures and carves punu (wood) artefacts.
Inspired by the early 90s, Sally Ann created a Mamu (monster) truck that would travel all over the Ngaanyatjara Lands taking families to Blackstone, Jameson, Warburton and Warakurna. It also traveled to Cundeelee taking people to the Mission. “One day we all traveled in the back of the truck to Alice Springs, where we left the truck and traveled onto Mataranka for Inma (dancing). That truck now rests in Wingellina car yard,” said Sally Ann.
Sally Ann Wipana Foster, Mamu Truck, 2020, metal, plastic, acrylic paint, 24 x 27 x 72cm. Photography by Pixel Poetry. Image courtesy of Minyma Kutjara Arts Project
Yangyangkari (Roma Peterman) Nyutjangka Butler was born in 1959 at Wilu rockhole on the kanyala (euro kangaroo) tjukurpa track. She spent her early years at Ernabella Mission in South Australia before travelling by camel to Warburton in WA, where she went to school and learnt to read and write. Yangyangkari now lives in Irrunytju, her grandfather’s brother’s Country where she is a senior artist for Minyma Kutjara Arts Project. She also works with Ngaanyatjarra Media presenting a radio program of local music and news. Yangyangkai was taught to paint and tell tjukurpa (stories) by the minyma pampa (old women), especially Kuntjil Cooper. She also practices traditional cultural activities including hunting and gathering bush foods, singing and dancing inma (ceremony), and works with tjanpi (grass).
Roma’s car sculpture depicts the story of Minyma Kutjara (two sisters) that had travelled to Ngayan. The young sister had many young kids and said, “I’ve got too many children, I’m going to leave them here at Ngayan.” The two sisters continued travelling and they heard a whistling sound, it was a man following them. They were frightened, so they dug a hole in the sandhill and hid from the man. In the morning, the older sister said, “I’m taking you to my Country.” They then danced and told stories.
Yangyangkari (Roma Peterman) Nyutjangka Butler, Minyma Kutjara truck, 2020 metal, plastic, acrylic paint 24 x 27 x 72 cm. Photography by Pixel Poetry. Image courtesy of Minyma Kutjara Arts Project
Maureen Tjalumi Nelson was born in Amata in 1973 and now lives in Irrunytju. An emerging artist, Nelson works in both sculpture and painting, telling stories of her local community and Country. She belongs to the Pitantjara language and cultural group and is the eldest daughter of Rene Nelson, a senior artist with exceptional bush skills.
Maureen called her car Joyrider. “It takes me everywhere, swimming, out bush, funerals, Pipalyatjara and Kalka, to all my favourite places,” she said.
Maureen Tjalumi Nelson, Joyrider, 2020, metal, plastic, acrylic paint, 26 x 32 x 74cm. Photography by Pixel Poetry. Image courtesy of Minyma Kutjara Arts Project
View all of The Minyma Kutjara Arts Project works and the full Revealed Exhibition at FAC until Sunday 26 July. Free entry
The cancellation of the 2020 Revealed Art Market will result in a significant loss of income for regional and remote Aboriginal art centres and independent artists across Western Australia. This event generates a large amount of revenue for these communities – in 2019 more than $500,000 in market sales went directly to artists and Art Centres across the state. While it was absolutely necessary to cancel this event to minimise the risk of COVID-19 being transmitted to our state’s most vulnerable communities, this and other measures currently being implemented will have a drastic impact on their capacity to generate income through artwork sales.
If you would like to support WA’s Aboriginal Art Centres and independent Aboriginal artists in this difficult time, you may consider purchasing artwork directly from their websites and social media platforms, as listed below.
Please note:
- FAC does not take any commission for the sale of artworks purchased through the Revealed Art Market or through direct purchases from artists’ or Art Centres’ websites.
- FAC is not involved in the sales or able to assist with purchase administration or artwork freighting.
- Many WA Aboriginal art centres operate with minimal resources and staff, and your patience will be appreciated when conducting online sales.
Art Centres
Cheeditha Art Group
Website: https://www.cheedithaart.com.au/
Instagram: https://www.instagram.com/cheedithaart/
Facebook: https://www.facebook.com/cheedithaartgroup
Juluwarlu
Website: https://www.juluwarlu.com.au/
Instagram: https://www.instagram.com/juluwarlu/
Facebook: https://www.facebook.com/juluwarlu
Ku’arlu Mangga (Good Nest)
Website: https://www.nosci.com.au/
Instagram: https://www.instagram.com/kuarlumangga/
Facebook: https://www.facebook.com/NorthamptonOldSchool/
Mangkaja Arts Resource Agency
Website: http://www.mangkaja.com/
Instagram: https://www.instagram.com/mangkajaarts/
Facebook: https://www.facebook.com/Mangkaja-Arts-Resource-Agency-1399823076912172
Martumili Artists
Website: https://martumili.com.au/
Instagram: https://www.instagram.com/martumiliartists/
Facebook: https://www.facebook.com/MartumiliArtists
Maruku Arts and Crafts
Website: https://maruku.com.au/
Instagram: https://www.instagram.com/marukuarts/
Facebook: https://www.facebook.com/marukuatuluru/
Mowanjum Art and Culture Centre
Website: https://www.mowanjumarts.com/
Instagram: https://www.instagram.com/mowanjum_arts/
Facebook: https://www.facebook.com/MASWAC
Nagula Jarndu Women’s Resource Centre
Website: http://www.nagulajarndu.com.au/
Instagram: https://www.instagram.com/nagulajarndu/
Facebook: https://www.facebook.com/Nagula-Jarndu-Saltwater-Woman-368076166626250
Ninuku Arts
Website: https://ninukumarket.com.au/
Instagram: https://www.instagram.com/ninuku_arts/
Facebook: https://www.facebook.com/Ninuku-Arts-196180530400645
Spinifex Hill Artists
Website: https://www.spinifexhillstudio.com.au/
Instagram: https://www.instagram.com/spinifexhillartists/
Facebook: https://www.facebook.com/spinifexhillstudio
Tjanpi Desert Weavers
Website: https://tjanpi.com.au/
Instagram: https://www.instagram.com/tjanpidesertweavers/
Facebook: https://www.facebook.com/Tjanpi
Tjarlirli Art
Website: http://www.tjarlirliart.com/
Instagram: https://www.instagram.com/tjarlirliart/
Facebook: https://www.facebook.com/tjarlirliarts/
Works can also be purchased here: https://bluethumb.com.au/indigenous-art-centres/tjarlirli-art
Tjkurba Art Gallery
Website: https://tjukurbagallery.com.au/
Warakurna & Kayili Artists
Website: https://warakurnaartists.com.au/
Instagram: https://www.instagram.com/warakurna_artists/
Facebook: https://www.facebook.com/warakurnaartists1
Waringarri Aboriginal Arts
Website: https://www.waringarriarts.com.au/
Instagram: https://www.instagram.com/waringarri_arts/
Facebook: https://www.facebook.com/waringarriarts
Warlayirti Artists (Balgo)
Website: https://www.balgoart.org.au/
Instagram: https://www.instagram.com/warlayirti_artists/
Facebook: https://www.facebook.com/WarlayirtiArtists
Works can also be purchased here: https://bluethumb.com.au/indigenous-art-centres/balgo-art
Warmun Art Centre
Website: https://warmunart.com.au/
Instagram: https://www.instagram.com/warmunart/
Facebook: https://www.facebook.com/warmunartcentre
Yamaji Art
Website: http://www.yamajiart.com/
Instagram: https://www.instagram.com/yamajiart/
Facebook: https://www.facebook.com/yamajiart
Yinjaa Barni Artists
Website: https://yinjaa-barni.com.au/
Instagram: https://www.instagram.com/yinjaa.barni.art/
Facebook: https://www.facebook.com/Yinjaa-Barni-Art-475652832544478
Wirnda Barna Art Centre
Website: http://wirndabarna.com.au/
Facebook: https://www.facebook.com/Wirnda-Barna-Art-Centre-1309005019243331
Instagram: https://www.instagram.com/wirndabarnaartcentre/
Wilurarra Creative
Website: https://www.wilurarra.com.au/
Instagram: https://www.instagram.com/wilurarracreative/
Facebook: https://www.facebook.com/wilurarra
Wangaba Roebourne Art Group
Website: https://www.roebourneart.com.au/
Facebook: https://www.facebook.com/RoebourneArtGroup/
Independent Artists
Awesome Aboriginal
Facebook: https://www.facebook.com/awesomeaboriginal
BY Danika
Instagram: https://www.instagram.com/bydanika/
Bradley Kickett
Website: https://www.bradleykickett.com/
Instagram: https://www.instagram.com/bradley_kickett/
Cox Family
Facebook: https://www.facebook.com/groups/239774170388926/
Crawlin Crocodile (Tyrown Waigana)
Website: https://crawlincrocodile.com
Instagram: https://www.instagram.com/crawlincrocodile/
Facebook: https://www.facebook.com/crawlincrocodile/
Deadly Denim
Website: https://www.deadlydenim.com.au/
Instagram: https://www.instagram.com/too_deadly_denim_/
Facebook: https://www.facebook.com/Deadly-Denim-239962300009569
Gungurra
Website: https://gungurra.com/
Instagram: https://www.instagram.com/gungurra/
Kiya Watt
Facebook: https://www.facebook.com/kwaboriginalartist/
Instagram: https://www.instagram.com/kwaboriginalartist/
Litiyalla Designs
Facebook: https://www.facebook.com/Litiyalla-Designs-370019623726233/
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Ken Farmer
Website: www.KenFarmer.com.au
Full Name: Winifred (Rosanna) Reid
Art Centre: Tjanpi Desert Weavers
Preferred making method: Fibre art
Winifried Reid. Image courtesy Tjanpi Desert Weavers
When did you start creating artworks?
2006
What inspires you?
I love making Tjanpi because it’s a way I can show those people who don’t live out bush what it’s like. They can understand what sort of animals and plants we have and the things we do everyday. I love doing it because it’s relaxing too.
Tell us about your work in this year’s Revealed?
The work I made is a flat sculpture Ninu (Bilby). I wanted to make this one because I had never made a flat sculpture before so it was good for me to learn how. I made the Ninu after talking to the older women in Warakurna. I have never seen a Ninu out bush, there’s not many left anymore, and I wanted to make one so people remember them.
Winifred Reid, Ninu, 2019, tjanpi (wild harvested grass), raffia, wire, 2 x 70 x 65cm. Image courtesy of Tjanpi Desert Weavers
What’s up next after Revealed?
I am going to work on a large sculpture for Tjanpi that will go to a big museum in Canberra.
Revealed Exhibition: New and Emerging WA Aboriginal Artists opens 6:30pm Thu 2 Apr | RSVP to the opening
NSW artist Rew Hanks has taken the coveted first prize in this year’s Fremantle Arts Centre Print Award with the work Gone Fishing East of Faskrudfjordur. He wins $16,000 in prize money and the print will be acquired by the City of Fremantle Art Collection.
This year’s judging panel – Lee Kinsella (WA), Anne Ryan (NSW), Mark Stewart (WA) admired the work and said, “Gone Fishing East of Faskrudfjordur stood out for its lyrical rendering of a vast Nordic landscape. This remote and beautiful part of the world seems untouched by modern life. However, on closer inspection tiny human figures infiltrate the scene, reminding us of the fragility of nature and the impact of humanity on the environment. The energy of nature is effectively rendered in the layers of water, land, cloud and sky. The print is extraordinarily sophisticated and well executed, on an ambitious scale that sustains its power over the expanse of the image.”
About the Artist
Rew Hanks has held 27 solo exhibitions and over 178 group exhibitions in Australia and internationally. Nationally he has been awarded 28 print prizes and 12 international print prizes. His works are held in the Australian National Gallery and most state and regional galleries throughout Australia and twelve international galleries/museums. In 1999 he was awarded a Master of Fine Arts from the University of NSW in Sydney and a Print Fellow from the Tamarind Institute at the University of New Mexico in America in 1991.
Rew Hanks, Gone Fishing East of Faskrudfjordur, 2018, linocut, 70 × 200cm
About the Work
While visiting Iceland for three months in early 2017 Hanks was overwhelmed by its diverse landscape. At the end of winter the rugged mountain ranges in Southern Iceland were gently dusted with snow contrasting dramatically against the black volcanic rocks. The contrasting blacks and whites were perfect imagery demanding to be transposed into linocuts. However while examining photographs of this majestic scene he noticed a minute solitary figure in the foreground standing at the waters edge fishing alone and close by was a small boat full of fisherman. Their presence was a shattering reminder of the four huge aluminium smelters already built on this island and the six more planned for the highlands. Even this uniquely beautiful isolated country is seriously under threat.
FAC Print Award runs Fri 20 Sep – Sun 10 Nov |
Find out more about the FAC Print Award
Sunday Music returns in 2019–20 with a stellar line up of local and touring acts. Running 2–4pm every Sunday from October through to March visitors can enjoy free music performances in Fremantle Arts Centre’s picturesque Front Garden.
This year’s program features a diverse selection of local and national music acts including Freo’s Lincoln MacKinnon & The Wrecking Train (WA), the R&B vocal stylings of Jamilla (WA), Lucky Ocean’s Zydecats and QLD bluegrass group The Company. Plus a whole of host of acts spanning genres from electro, rock, bluegrass and soul, to indie pop, ambient and roots.
Fremantle Arts Centre Director Jim Cathcart said, “Sunday Music is synonymous with summer in Fremantle and really represents the Arts Centre at its best. There’s nothing better than getting a group of friends or family together, kicking back on the lawn in our Front Garden and discovering some amazing new acts. This year’s program goes to show how vibrant the local music scene is at the moment – it’s thriving! We’re thrilled to connect so many talented musicians with new audiences.”
Bring a rug, pack a picnic and prepare to spend many lazy afternoons at this free, family-friendly event. Wood-fired pizzas available and our bar will be open too. Some chairs provided.
OCTOBER – DECEMBER LINE UP
6 Oct: Junkadelic Brass Band (WA)
13 Oct: Jamilla (WA) + Feels (WA)
20 Oct: Camarano (WA) + King Ibis (WA)
27 Oct: Rupert Guenther & The Crystal Voyager Band (WA)
3 Nov: Old Blood (WA)
10 Nov: Teischa (WA/LA) + Material World Orchestra’s (WA)
17 Nov: Salary (WA) + The Starlight Hotel Choir (WA)
24 Nov: Natalie Gillespie (WA)
1 Dec: Lincoln MacKinnon & The Wrecking Train (WA)
8 Dec: BAZAAR | NO SUNDAY MUSIC
15 Dec: The Company (QLD) + Andrew Winton (WA)
22 Dec: Zydecats (WA)
29 Dec: Juliana Areias (WA/Brazil)
