Women have sat indoors all these millions of years, so that by this time the very walls are permeated by their creative force, which has, indeed, so overcharged the capacity of bricks and mortar that it must needs harness itself to pens and brushes and business and politics.

― Virginia Woolf, A Room of One's Own

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An exhibition of strength and vitality, honouring the tradition of women working in in Still Life, with an extraordinary group of highly collectable artist's working within the genre today.  Capturing the delightful and the atmospheric found in the fleeting moment of the everyday, A Room of One’s Own - Women in Still Life creates an opportunity to question the relationship between genre, gender, value and work.  The works in this exhibition extend beyond these women artists to the spaces and objects around them—the things that bear witness to their lives, and which are anything but still.    After surviving for centuries, the current Still Life movement is really having a moment. Collectors will have the opportunity to survey the best of the genre from around the country, though the mediums of painting, ceramics, sculpture and photography in this exciting, comprehensive nod to the creative force of women working in the arts today.

Featuring the work of : Rachel Milne . Elizabeth Barnett . Katherine Hattam . Amy Cuneo . Melanie Vugich . Kiata Mason . Fiona Cotton . Sally Anderson . Nicole O'Loughlin . Peggy Zephyr . Irene Briant . Pamela Pauline . Myfanwy Gulifer . Natasha Jumanee . Honor Freeman . Jess Dare

I'm pleased to be included in this ceramics tome by Glenn Barkley alongside other contemporary pieces in Australian public collections as well as works dating back centuries.

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What can we learn about the Roman empire from an amphora made in 200 BC? How can a simple, unadorned cup made in 1945 tell us so much about history? And what will an artwork comprising a vast collection of clay spheres tell our descendants about the act of making?

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Once fired, clay has the strength to last for millennia. Practical uses aside, ceramic objects are a testament to the power and innovation of ancient and ongoing cultural traditions. A single piece can tell an invaluable story about its time, the people who made it, how it was collected or its role within a broader cultural network.

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Ceramics: An Atlas of Forms is a global cultural study through the lens of ceramics. Organised chronologically – from an Egyptian ceremonial jar made over 5000 years ago to works by 20th-century luminaries Lucie Rie and Bernard Leach, as well as First Nations artists from Australia and entirely unknown makers – this collection shares the stories of over 100 objects, honouring the artists who have left their mark on this timeless practice.

The Journal of Australian Ceramics (JAC) has, over its sixty years of print publication, presented the history of ceramics in Australia. It has acknowledged the achievements of so many in that time, as well as educating readers on the importance and position of ceramics within Australian art. The JAC has been at the forefront of addressing significant issues of the time and, in turn, is a dynamic source of contemporary history.

The JAC is unique in its enduring focus on all areas of ceramic art practice, finding a balance between aesthetic, technique and education. Because of this, The JAC has been fundamental for the many readers that have accessed the magazine throughout the decades, and its success lies in the support of its subscribers and the stimulus of its contributors.

JAC’s contributors have predominantly been artists first and foremost, with many enthusiastically taking on further responsibilities as part of their involvement with JAC and in turn as an extension of their art practice. Whether it be collaborator, contributor, curator, educator, mentor, pioneer, scientist, speaker, technician, traveller, volunteer or writer, Australia’s ceramic artists have embraced the opportunity to be part of the magazine and have been instrumental through these roles in the advancement of ceramic art in this country.

Over the sixty-year history of The JAC what has unified the thousands of artists is their sense of community, as well as the generosity in passing on skills and knowledge to their fellow artists and for the next generation of makers. It is because of the many that have been involved over the years that The JAC has been such a success.

We find ourselves at a fundamental time in contemporary ceramics. The significant interest in ceramic art is recognition of the accomplishments of Australia’s ceramic artists and potters and The JAC and its contributors have played a key role in this revival.

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The exhibiting artists are:

Glenn Barkley | Alison Milyika Carroll | Kirsten Coelho | Greg Daly | Pippin Drysdale | Dan Elborne | Penny Evans | Honor Freeman | Susan Frost | Shannon Garson | Patsy Hely | Jeffery Mincham | Damon Moon | David Ray | Ben Richardson | Tania Rollond | Owen Rye | Jane Sawyer | Yul Scarf | Vipoo Srivilasa | Kenji Uranishi | Gerry Wedd

This celebratory exhibition was guest curated by Anna Grigson and ADC’s Lisa Cahill with design by Studio Garbett.

Since JamFactory’s establishment in 1973, hundreds of highly acclaimed artists, craftspeople and designers have permeated its studios in their journey to successful and sustainable careers. On the occasion of JamFactory’s 50th anniversary, this exhibition celebrates the history and achievements of JamFactory’s Associate Program through the work of 50 of its most outstanding alumni.

Featuring: Peter Andersson, Danielle Barrie, Clare Belfrage, Gabriella Bisetto, Annette Blair, Kristel Britcher, Gareth Brown, Andrew Carvolth, Scott Chaseling, Rhys Cooper, Amanda Dziedzic, Caren Elliss, Lesa Farrant, Gretal Ferguson, Liam Fleming, Honor Freeman, Susan Frost, Sam Gold, Eileen Gordon, Zoe Grigoris, Philip Hart, Katie-Ann Houghton, Kath Inglis, Takeshi Iue, Courtney Jackson, Stephanie James-Manttan, Michelle Kelly, Bronwyn Kemp, Erin Keys, Kerryn Levy, Danielle Lo, Tom Moore, Jason Moss, Liam Mugavin, Belinda Newick, Anne-Claire Petre, Adrian Potter, Madeline Prowd, Sarah Rothe, Brenden Scott French, Lauren Simeoni, Alison Smiles, Drew Spangenberg, Ivana Taylor, Sarra Tzijan, Dean Toepfer, Ulrica Trulsson, Janice Vitkovsky, Hannah Vorrath-Pajak and Leonie Westbrook.
 

Happy to be announced as a finalist in the invitational King's School Art Prize.

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Fade (Small acts of care and repair), 2022, will be exhibited alongside the work of 24 other finalists at King's Art School from 24 - 27 May,  with the winner of the 29th Annual Art Prize being announced at the Gala dinner on Saturday May 27.

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Since 1994 The King’s School has, through its prestigious Art Prize, acquired the works of some of Australia’s most influential and innovative contemporary artists. Now in its 29th year, The King’s School Art Prize Exhibition continues to share with the wider community a collection of artworks from Australia's leading artists. Entry is by invitation only and the finalists are selected by an appointed Art Prize panel.

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The 2023 finalists : Maria Jose Benvenuto Gutierrez, Beverley Burton, Joshua Charadia, Judi Elliott, Eliza Gosse, Joe Furlonger, Cameron Haas, Gregory Hodge, Nemo Jantzen, Jessica Loughlin, Laura Matthews, Amanda Marburg, Dani Mckenzie, Christopher Orchard, Christopher Pease, Ana Pollak, Helen Smith, Robyn Stacey, Peter Stevens, Carlene Thompson, Diana Watson, Jarek Wojcik, Christopher Zanko

Excited to receive my copy of Earth & Fire and be included in the pages alongside many esteemed artists, potters and clay folk whose work I respect and admire. This handsome publication, written by Kylie and Tiffany Johnson and published by Thames and Hudson offers a glimpse into the processes and studios of makers from the fabulously broad church of ceramics.

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From clay to kiln and everything in-between, this book is an exploration into the techniques and processes of over forty-five Australian artists working with clay, including:

Stephen Bird, Bridget Bodenham, Sandra Bowkett, Kate Bowman, Kevin Boyd, Ray Cavill, Zak Chalmers, Cara Edwards, Dan Elbourne, Mel Eliades, Penny Evans, Janet Fieldhouse, Honor Freeman, Susan Frost, Irene Grishin-Selzer, Bonnie Hislop, Niharika Hukku, Nicolette Johnson, Clairy Laurence, Amy Leeworthy, Dai Li, Erin Lightfoot, rebeca Lindemann, Yen Yen Lo, Sandy Lockwood, Angus McdDiarmid, Kate McKay, Asuka Mew, Pru Morrison, Jo Norton, Jennifer Orland, Serena Pangestu and Anika Kalotay, Sassy Park, Laura Pascoe, Kirsten Perry, Mel Robson, Naoko Rodgers, Jane Sawyer, Anna Scheen, Arcadia Scott, Roshni Senapati, Hyeyoun Shin, Ulrica Trulsson, Clare Unger, Kenji Uranishi, David Usher, Hayley A. West, Katherine Wheeler.

A playful exhibition in the historic phone booths at the Adelaide Railway Station.

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Lost Flavour explores the seemingly insignificant and disposable. The porcelain casts of used chewing gum like talismanic totems or trophies from the urban landscape, the small single use plastic pieces being both beautiful and slightly repellant in this used and discarded state.

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Moulds were created of discarded used chewing gum, the small intimate objects formed into odd shapes recalling the traces of an individuals touch and use. Using the mimetic qualities of clay via the making process of slipcasting, Lost Flavour interacts with ideas of liquid made solid. The porcelain casts echo the original objects; the liquid slip turns to solid and becomes a precise memory of a past form - a ghost. These small pieces of you, tasteless and forever preserved in porcelain.

Sabbia Gallery will present new works of contemporary ceramics and glass by eight leading and emerging Australian and Indigenous artists.

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Cobi Cockburn   |   Tim Edwards   |   Honor Freeman   |   Ninuku Arts   |   Holly Grace   | Ulrica Trulsson   |   Alfred Lowe   |  

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Including the dynamic sculptural glass work of Adelaide artist Tim Edwards focusing on drawing, the process of drawing and how objects are seen, perceived and remembered; a beautifully crafted large installation of lidded forms of shifting colours and textures by Brisbane artist Ulrica Trulsson drawing on sensory experiences of sand and the patterns created by movements of the tides; sculptural and organic ceramic hand built forms by the exciting new Indigenous artist Alfred Lowe who explores themes of Country informed by his intimate knowledge of the central desert landscape; and whimsical painted and blown glass vessels by senior artist Nyanu Watson and emerging artist Cassaria Young Hogan from Ninuku Arts.

Crafting the poetry of the everyday, Ebb explores the metaphorical power of inanimate objects. Working primarily in porcelain, I harness the mimetic qualities inherent in clay through the magic of slip casting. The works playfully interact with ideas of liquid made solid. The porcelain casts echo the original objects; the liquid slip turns solid forming a skin, and becomes a precise memory of a past form. A ghost.

“In bed that night I invented a special drain that would be underneath every pillow in New York, and would connect to the reservoir. Whenever people cried themselves to sleep, the tears would all go to the same place, and in the morning the weathermen could report if the water level of the reservoir of tears had gone up or down, and you could know if New York was in heavy boots”
(- Jonathan Safran Foer, Extremely loud and incredibly close, 2005)

Buckets of Rain, buckets of tears…..Apparently we can cry 64 litres of tears in a lifetime. This suite of work explores contemporary lachrymal vessels used to collect tears and evolved out of a research residency at the Art Gallery of South Australia, a Guildhouse Collections Project. The porcelain buckets represent my own personal grief and the manner in which it manifested in public and private spaces following my fathers death. I’m attempting to make sense of and measure the immeasurable.

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Australian Art   |   Any Medium   |   All Women

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Thrilled to be announced as a finalist in this year's Ravenswood Australian Women's Art Prize, an annual acquisitive prize that was launched in 2017 to advance art and opportunity for emerging and established women artists in Australia.
Bleach, 2021 will feature alongside the works of 59 other artists, congratulations to all those selected.

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Bleach continues my exploration into the poetic potential of the simple and ubiquitous bar of soap. A small yet quietly powerful object that has gathered heightened meaning in recent years.
Moulds are created of discarded cake soap in various states of decay, worn into odd shapes recalling the traces of an individuals touch. The soaps are cast in porcelain. Referencing the Japanese art of Kintsugi, the cracks are sealed with gold lustre, transforming them into golden seams. The uncertainty of porcelain and metaphorical power of kintsugi unite in this ordinary act of repair reflecting on ideas of rupture and renewal.

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In 2022, the Adelaide Festival is thrilled to extend its umbrella to embrace a new artist-led initiative, highlighting and promoting the talents of 20 mid-career South Australian practitioners.

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Neoteric presents new work by respected local artists with 10-15 years exhibiting experience, working across the fields of photography, painting, performance, sculpture, installation, video, sound, ceramics and mixed media with 20 writers’ responses.

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The exhibiting artists are Tamara Baillie, Thom Buchanan, Deidre But-Husaim, Gus Clutterbuck, Bridget Currie, Brad Darkson, Honor Freeman, Sasha Grbich, Ray Harris, Anna Horne, Heidi Kenyon, Sue Kneebone, Deborah Prior, Will Nolan, Cynthia Schwertsik, Darren Siwes, CJ Taylor, Lara Tilbrook, Henry Jock Walker and Laura Wills.

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After what could have been two understandably fallow years, this handsome harvest of diverse work is a testament to the South Australians who never stop creating. Their originality and imagination promise fascinating hours here - before, between and after shows.

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Conceived, developed and initiated by Ray Harris
with Thom Buchanan
Curated by Julianne Pierce
Exhibition Manager Sarita Burnett
Writer Coordinator Fiona Borthwick
Graphic Designer Rosina Possingham

400+ objects | 70 commissions | 160 artists



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Curated by Eva Czernis-Ryl, Clay Dynasty celebrates studio ceramics in Australia as shaped by three generations of makers: from the 1960s pioneers who transformed the functional pottery tradition to contemporary ceramic artists who continue to push the medium. The first major exhibition to chart the astonishing diversity of ceramic practice across Australia, it features more than 400 objects from the Powerhouse’s significant ceramics collection.

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Clay Dynasty offers new perspectives by displaying ceramics of the crafts movement alongside postmodern and contemporary artworks of today. Distinctively Australian works complement those inspired by other cultural traditions, bold forms contrast with meditative objects and fine porcelain.

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Iconic and lesser known works are brought together, including Margaret Dodd’s Blue Holden ceramic car which feminised the iconically macho FJ Holden of the 1970s, and Joan Ground’s ceramic postal parcel which the artist addressed to a Melbourne gallery in 1973. Among works never before on public display is the spectacular 70-piece collection of some of the earliest pottery made by Australian Indigenous makers in 1968–74 at the Bagot pottery in Darwin, Northern Territory.

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Bringing together functional and expressive artistic traditions, Clay Dynasty reassesses the Australian experience, while highlighting the creative potential of clay at a time of a remarkable resurgence.

I n   S e a r c h   o f   O r d i n a r y   |   G a l l e r y   3

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An exhibition of new works in porcelain.

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Stockroom Kyneton is regional Victoria’s largest privately-owned contemporary art space, housed in a 1850s butter factory across 1000sq metres. Located in Kyneton’s thriving style precinct of Piper Street, Stockroom showcases some of Australia’s most visionary and highly respected contemporary artists, makers and designers.

Obsessed: Compelled to make presents the work of 14 artists from across Australia, delving beyond the finished object, beyond the personality of the maker, into the fundamental conceptual framework of their creations. We look at the complexities of their materials and processes, the realities of their day-to-day studio routine and unravel what compels each maker to create over the course of their personal career – Why this technique or material? Why that concept? How does the mind of a maker work?

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This exhibition explores the act of making through the framework of obsession – how it consumes us, carrying
 us along in its wake, colouring every aspect of our lives.
 With these professional artists, it is their obsessions, and all the associated angst, failures, breakthroughs and milestones, that feeds their productivity and to deliver exceptional outcomes.

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Artists: Gabriella Bisetto | Lorraine Connelly-Northey |  Honor Freeman | Jon Goulder | 
Kath Inglis |
 Laura McCusker |
 Elliat Rich and James B Young (Elbowrkshp) | 
Kate Rohde |
 Oliver Smith | Vipoo Srivilasa | Tjunkaya Tapaya | Louise Weaver | Liz Williamson. 

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Obsessed: Compelled to make is an Australian Design Centre of ADC on Tour exhibition touring to 12 venues across Australia, accompanied by a series of films and a full-length catalogue.

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r e a d    m o r e . . .

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lave . (to wash. to bathe. (of water) to wash over or against).

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This timely body of work continues my exploration into the poetic potential of the simple and ubiquitous bar of soap. A small yet quietly powerful object that has gathered heightened meaning during the pandemic with the return of hand washing rituals. Behind soap’s deceptively benign exterior and sweet fragrance lingers the whiff of nineteenth century propagandist regimes of care, comfort and control. Using the mimetic qualities of clay via the process of slip casting, this new series interacts with ideas of liquid made solid. The porcelain casts remember the almost obsolete objects; the liquid slip solidifies becoming a precise memory of a past form – a ghost. Scentless and forever preserved in porcelain.

This timely body of work continues my exploration into the poetic potential of the simple and ubiquitous bar of soap. A small yet quietly powerful object that has gathered heightened meaning during the last 12 months. Using the mimetic qualities of clay via the process of slip casting, this sunlight series interacts with ideas of liquid made solid. The porcelain casts remember the almost obsolete objects; the liquid yellow slip solidifies becoming a precise memory of a past form - a ghost.

Yellow and its many shades, is a colour I find myself especially drawn towards and I am currently embracing a yellow phase: mustard, lemon, chartreuse, citrine, straw, ochre, gold, daffodil, sunshine, canary, saffron, turmeric, honey, sulphur.

Emotive and joyous, it is the colour of sunshine, enlightenment and hope, used by ancient cultures to embody and harness the divine power of the sun. Yellow is also the colour of ‘Sunlight soap', one of the first bar soaps to be individually packaged and marketed for the masses in 1884, and still available today, “gentle on hands, and everything they wash”.

Yet yellow has a conflicted past as a duplicitous colour associated with cowardice, jealousy, dishonour and greed. I encountered a more sinister side as I leant into the pandemic, researching archives from the 1918 Spanish flu and exploring the history of soap, hand washing and quarantine. Historically, yellow was used internationally on maritime signal flags to symbolise quarantine in a port, on the flags flown on ships to signal a diseased vessel, and the colour of SOS cards and cloth used to mark homes of infection. Curiously, when the yellow flag is flown today, it signals the opposite — a ship free from disease and requesting pratique.
A fitting colour palette for a pandemic. I’m taking the sunny side. A ray of sunlight to illuminate the gloom.

Sabbia's stable of artists have been asked to create or release smaller scale study pieces for this exhibition.

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A smaller artwork allows the artist to explore elements or problems that might be involved with creating a piece, and allows them to finesse the work at this planning stage. They might troubleshoot light/transparency, colour, tone or form or use the time in the studio where they set no expectations for outcomes, and are able to work more with intuition/heart.

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including works by:

Galia Amsel  |  Clare Belfrage  |  Giles Bettison  |  Lisa Cahill  |  Cobi Cockburn |  Matthew Curtis  |  Greg Daly  |  Mel Douglas  |  Pippin Drysdale  |  Ben Edols + Kathy Elliott  |  Judi Elliott  |  Wendy Fairclough  |  Cathy Franzi  |  Simone Fraser  |  Honor Freeman  |  Brenden Scott French  |  Gerry King  |  Jessica Loughlin  |  Jenni Kemarre Martiniello |  Jeffery Mincham AM  |  Nick Mount |  Tom Rowney  |  Janice Vitkovksy

Design/Isolate is an Australian Design Centre initiative to show how creative thought can help lead the way for change.  Over 60 designers/creative thinkers have captured their thoughts in sketches, diagrams, drawings, text or collage on COVID-19, isolation, what ‘a new normal’ in Australia might look like, how they are affected and how design might contribute to recovery post-pandemic.

The project began as an experiment. At Easter time in the midst of lockdown in Sydney, 100 journals were sent to 100 creative people, asking them to document something of their time during Isolation in analogue form in a modest sketchbook.  To read someone’s journal is a privilege. Sometimes done in secret, without permission, or long after a person has gone, this is a rare insight into the very recent thoughts of designers, makers, artists, architects as they have lived alongside all of us through this tumultuous year. 



Dianne Beevers | Zoe Brand | Deborah Burdett | Lisa Cahill | Elise Cakebread | Maria-Fernanda Cardoso | Tulla Carson | Sebastian Chan | Sacha Coles | Rhys Cooper | Corban & Blair | Daniel-Emma | Anna Davern | Tracey Deep | Bin Dixon-Ward | Paula do Prado | Kate Dunn | Eggpicnic | Alexi Freeman | Honor Freeman | Garbett Design | Maddison Gibbs | Stephen Goddard | Dennis Golding | Mark Gowing | Blake Griffiths | Christian Hall | Benja Harney | David Holm | Michael Hoppe | Pennie Jagiello | Taerim Claire Jeon | Rebecca Jobson | Mark Ian Jones | Pia Larsen | Andrew Lavery | Stefan Lie | Peter Lonergan | Nikita Majajas | Claire McCaughan | Nicole Monks | Damon Moon | Julie Paterson | Fiona Roderick | Natalie Rosin | Tim Ross | Liane Rossler | Niklavs Rubenis | Melissa Silk | Lucy Simpson | Vipoo Srivilasa | Jane Theau | Bic Tieu | Isabelle Aileen Toland | Prue Venables | Zoe Veness | Harriet Watts | Louise Weaver | Liz Williamson | Jason Wing | Helen Wyatt | Melinda Young 

This exhibition brings together renowned ceramic artists who adeptly play with the conventions of functional ware, displayed alongside a new generation of contemporary practitioners.

Domestic and functional wares represent many aspects of life; the flower vase for ceremony and remembrance, the platter shared in celebration, and tea bowls representing culturally diverse tradition and customs. The bond of sharing a pot of tea is part of everyday life, it can become a daily ritual and provide a source of nurture and comfort.

Honor Freeman creates deceptive works that mimic 1960s Tupperware and Gwyn Hanssen Pigott’s (1935–2013) still lifes take cues from artists such as Giorgio Morandi and Chinese masters. The skill of the Hermannsburg potters transform jars into expansive desert landscapes and a new acquisition to the Newcastle Art Gallery’s collection by Tony Albert marks the problematic 250th anniversary of Captain Cook.

Domestic Bliss elevates everyday ceramics as works of art and reveals the artists transnational stories of place and identity. It showcases the breadth of practice in our City’s leading collection of over 900 ceramic works of art ranging from Australian Post War studio to Japanese ceramics.

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w a t c h . . .

Fisher’s Ghost Art Award is an annual art prize inviting artists to submit works in a variety of artistic categories and mediums. With a total of $38,000 in prize money to be won, the Open section is acquisitive to the Campbelltown City Council collection and is valued at $25,000.

The Fisher’s Ghost Art Award coincides with Campbelltown’s annual Festival of Fisher’s Ghost. Held over 10 days, the Festival dates back to 1956 and celebrates Australia’s most famous ghost – Frederick Fisher.

In the past the Open Award has been awarded to some of Australia’s most respected contemporary artists including Elisabeth Cummings, Khaled Sabsabi, Justene Williams, David Bromley, Marion Borgelt, Raquel Ormella, Philip Wolfhagen, Tina Havelock Stevens and most recently Brian Fuata.

So pleased that Things I know you've touched, 2019, has been been acquired by the Art Gallery of South Australia for the permanent collection.

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Produced during the Collections Project residency in 2019, and part of a suite of works for the exhibition Ghost Objects, Things I know you’ve touched is a collection of 114 slipcast porcelain used soaps.  The cracks are carefully sealed with gold lustre, transforming them into golden seams, referencing the Japanese art of Kintsugi, the tradition of repairing with gold and lacquer.

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This acquisition was made possible through the support of the Contemporary Collectors, a dynamic philanthropic group dedicated to championing Australian contemporary artists and enriching the growth of AGSA's collection of contemporary art.

Thrilled to have my work included in the 2020 publication Ceramics Masterclass : creative techniques of 100 great artists, by Louisa Taylor.

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Ceramics Masterclass examines 100 great pieces of ceramics from history and explores how they were made what they do well and what we learn from them. 

The subject of ceramics is steeped in history and tradition. For thousands of years humans have exploited the versatile qualities of clay as a material to produce items ranging from humble utilitarian vessels integral to family living, right through to exquisite works of art. Louisa Taylor explores this diverse discipline by showcasing 100 of the most innovative and inspiring artists past and present, analysing the techniques and methods used to create the works, and the concepts which underpin their creative process. The book shows how to recreate intricate still-life dioramas like fifteenth-century artist Bernard Palissy, explore narrative like Grayson Perry and convey sensitivity to material like Phoebe Cummings.

Arranged thematically, Ceramics Masterclass includes chapters on vessels, form and surface, function, figurative works, one-offs and installations.

Explores the artistic process, methodology and techniques of 100 great artists In-depth ceramic techniques section covering skills integral to working with clay Includes historical and contemporary examples Represents a global perspective of the field, including dynamic and ground-breaking approaches to clay Perfect for students, amateur ceramicists and professionals, this book will represent a global perspective of historical and contemporary approaches to clay and be a catalyst for discovery and intrigue.

During this unique time Louise Flaherty and Honor Freeman playfully gift their work to the streets of their neighbourhood as part of SALA Festival 2020.

United by their keen eye for observing the small and unnoticed. Louise for remembering the remnant grassland  that once existed in the Western suburbs of Adelaide and Honor for noticing the invisible everyday and ordinary. The two artists based in the Western Suburbs of Adelaide invite you to jump on a bike or take a meander on foot through the streets of their neighbourhood to uncover small gifts for street corners. Small artworks installed around the western suburbs of Allenby Gardens, Beverley, Kilkenny, Croydon, West Croydon and Woodville Park. A wink to those noticing the small things.

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Freeman’s practice commemorates the smaller moments that are a constant rhythm of the everyday. Working in porcelain, she harnesses the mimetic qualities inherent in clay through the magic of slip casting, creating works that interact with ideas of liquid made solid. The porcelain casts echo the original objects; the liquid slip turns solid and becomes a precise memory of a past form – a ghost.
 
For this project, Freeman researched mourning objects and works of art that offer solace for grief within the Art Gallery of South Australia’s vast collection. Ghost objects responds to vessels and materials once used to collect tears of the mourning while, while simultaneously interrogating contemporary everyday materials that dry or wipe away tears, such as handkerchiefs or vessels that metaphorically collect tears, such as buckets.
 
The Guildhouse Collections Project is delivered in partnership with the Art Gallery of South Australia and is supported by the University of South Australia.
 
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

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r e a d    m o r e . . .

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s e e   m o r e . . .

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l​ i s t e n . . .

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w a t c h

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Still is a biennial, acquisitive award for artworks in the genre of still life, in all mediums. The Award seeks to highlight the diversity and vitality of still life in Australian contemporary art practice, broadening the interpretation and meaning of this enduring genre.

The exhibition opens on Friday 20th September 2019, with the official opening on Saturday 21st September and winner announced by this years judge Rebecca Coates (Director, Shepparton Art Museum), and runs until Saturday 16th November 2019.

Congratulations to all the finalists and this year's winner Kelly Austin
 

2019 finalists:
Phil Alldis, Corrie Furner, Louise Allerton, Salvatore Gerardi, Kelly Austin, Jane Gerrish, Sue Bell, Warwick Gilbert, Stephen Bird, Myfanwy Gullifer, John Bokor, Andrew Hickinbotham, Sara Bowen, Sally Hook, Janine Brody, Julie Hutchings, Kelcie Bryant-Duguid, Susan Jacobsen, Fran Callen, Jane James, Brett Canet-Gibson, Susan Knight and Trevor Mein, Carol Christie, Suzanne Knight, Christine Courcier-Jones, Catherine Lane and Linelle Stepto, Madeleine Cruise, Marie Mansfield, Fiona Currey-Billyard, Donna Marcus, Michael Cusack, Nicola Moss, Jo Darvall, NOT, Sally Davis, Victoria Reichelt, Rachel Doller, Ignacio Rojas, Kate Dorrough, Daniel Sherington, Christine Druitt-Preston, Asahi So, Scott Duncan, Stephanie Theobald, Helen Earl, Gerry Wedd, Michele Elliot, Greg Weight, Ben Fayle, Jo White, Sharman Feinberg, JP Willis, Robert Fenton, Amanda Wolf, Christopher Zanko

Pleased to be selected as a finalist in this year’s SALA Advertiser Contemporary Art Award alongside a great line up folk, including: Thom Buchanan, Mirjana Dobson, James Dodd, Joseph Haxan, Anna Horne, Kate Kurucz, Yoko Lowe, Monika Morgenstern, Derek Sargent, Jane Skeer, Drew Spangenberg and Amy Joy Watson.
 

I'm thrilled to have been invited to delve into the vast collection of the Art Gallery of South Australia as part of The Collections Project, a collaboration between Guildhouse and the Art Gallery of South Australia (AGSA). This unique residency provides me with the opportunity to access and research the extensive collection of the Art Gallery of South Australia to develop new work for exhibition. The new work will be exhibited at AGSA  in 2019, coinciding with South Australian Living Artists Festival (SALA).

In this preliminary research phase a recurring theme of ghosts (the invisible, the unknown makers, the disappeared) has emerged as I explore objects found in ancient Roman tombs, ritual objects, objects of mourning and pieces that show proudly the signs of mending and repair.

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r e a d   m o r e . . .

In the tenth year of the award, 41 finalists were selected by the judges, Leanne Willis Manager, Art Collection and Galleries, Deakin University, artist and sculptor Louise Weaver and Professor Ted Snell, Chief Cultural Officer and Director of the Lawrence Wilson Art Gallery at the University of Western Australia.

This year’s finalists:

Adam John Cullen, Alan Constable, Ali McCann, Amber Smith, Anne Levitch, Ara Dolatian, Carly Fischer, Carolyn Menzies, Catherine Bell, Chris Bond, Donna Marcus, Fiona Abicare, Geoff Overheu
Gisela Zuchner-Mogall, Hiromi Tango, Honey Long & Prue Stent, Honor Freeman, Jacqueline Bradley, Jasmine Taregett, Jock Clutterbuck, John Nicholson, Julia Kennedy-Bell, Kate Ellis, Kris Coad, Louis Pratt, Louise Meuwissen, Megan Evans, Michael Doolan, Michael Meszaros, Nuha Saad, Pip Ryan, Rob Mcleish, Robert Owen, Rox De Lucu, Ruby Aitchison, Sassy Park, Sea’mus Heidenreich, Sharon West, Suro Herlambang, Takahiko Sugawara, Vipoo Srivilasa

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Sydney, Australia: The Woollahra Small Sculpture Prize, presented by Woollahra Council, today announced 48 emerging and established artists as finalists for the 18th annual Prize and exhibition. The finalist group was selected from 666 entries this year including artists from Australia, India and the United Kingdom highlighting the Prize’s growing international reputation.

The innovative submissions – each for a freestanding sculpture of up to 80cm in any dimension – were selected by a judging panel comprised of Australian arts administrator Michael Lynch AO CBE and Director of independent art advisory LoveArt, Amanda Love.

Annabell Amagula (NT) Uri Auerbach (NSW) Lincoln Austin (QLD) James and Eleanor Avery (QLD)  Karen Black (QLD) Tom Blake (NSW) Lauren Brincat (NSW) Bonita Bub (NSW) Alison Clouston (NSW) Steven Cybulka (SA) Karl de Waal (QLD)  Paula Dunlop (QLD)  Jamie Edward (TAS) Shane Forrest (NSW) Danielle Freakley (VIC) Honor Freeman (SA) Rebecca Gallo (NSW) Mathieu Gallois (NSW) Amala Groom (NSW) Neeraj Gupta (INDIA) Lee Harrop (NT) Anna Horne (SA) Mehwish Iqbal (NSW) Robbie Karmel (NSW) Lucinda Kirkby (VIC) Jasper Knight (NSW) Matilda Kubany-Deane (NSW) Hannah Lees (VIC) Jess MacNeil (UK) Will Maguire (NSW) Rocket Mattler (NSW) Anne-Marie May (VIC) John Nicholson (NSW) Ramesh Mario Nithiyendran (NSW) Kirsten Perry (VIC) Eloise Rankine (NSW) Tim Silver (NSW) Katie Stackhouse (VIC) Abdullah Syed M I (NSW) Julian Talarico (NSW) Sherna Teperson (NSW) Linda Davy and Tim Barrass (ACT) John Tuckwell (NSW) Brendan Van Hek (NSW) Craig Waddell (NSW) Fiona Watson (NSW) Min Wong (WA) Ken and Julia Yonetani (NSW).

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SPRING1883 returns to The Hotel Windsor from 1-4 August 2018, as part of Melbourne Art Week, and coinciding with the Melbourne Art Fair. The fifth edition of SPRING1883 will see 24 galleries showcasing the best contemporary art from the region and beyond across the four luxurious levels of Melbourne’s grandest heritage hotel.

Jan Murphy Gallery’s booth for Spring 1883 is curated around the theme of the ‘hotel’, and responds to the Windsor’s unique history, architecture and décor, in anticipation of its imminent redevelopment.
 

Featuring the work of Gerwyn Davies | Leah Emery | Honor Freeman | Claudia Greathead | Linda Ivimey | Juz Kitson | Ben Quilty.