A p ril 2010 –Ju ly 2010 n e w sle tte r - Artsource

A p ril 2010 –Ju ly 2010 n e w sle tte r - Artsource

A p ril 2010 –Ju ly 2010 n e w sle tte r - Artsource


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April 2010–July 2010 newsletterFeatured Artists + ProjectsErin Coates, Phil Gamblen, Shane Pickett,Tony Windberg, Newman Town Centre Park,St Mary’s Cathedral, SymbioticA – AdaptationHow to attract Australia Council funding,Issues update, Residency artists, new Studios,Members News and more…artists’ foundation of western australia

City of WannerooArt AwardsLocal resident Judy Rogers was the big winner in the Open category,taking home prize money of $5000 for her untitled piece, whichwas described by judges as being of an exceptional standard.“Endeavour and courage in the composition, drafting and colour palette ofthis work allows its material nature to become an integral part of the reading ofthe beautifully rendered images. The diversion of the gaze and unexpected anglesof the portrait give the overall object an intriguing emotional depth.”Judges comments: Bevan Honey, Susanna Castleden and Linda van der Merwe.Award winnersOpen Award Winner ($5,000 acquisitive prize)Judy Rogers UntitledBest Wanneroo Resident ($1500)Christopher Young five #01 (spectacle series)Category Winners ($1000 each)PaintingDavid Maisano Hela and UmpaWorks on PaperJeremy Lane My Mate MaxSculptureBenjamin Kovacsy Loop #5AboveJudy RogersUntitled45cm x 90cmCoverTony Windberg,Decomposition 1

Fremantle Office9am – 5pm Monday to FridayLevel 1, 8 Phillimore StFremantle WA 6160PO Box 999, Fremantle WA 6959T (08) 9335 8366F (08) 9335 3886freo@artsource.net.auFremantle StaffJude van der MerweExecutive DirectorYvonne HollandGeneral ManagerRon Bradfield JnrManager Regional + Indigenous DevelopmentCarola Akindele-ObeManager Marketing/Editorial CoordinatorLoretta MartellaManager Studios + ResidenciesMarc SpringhettiCoordinator MembershipRebecca ThompsonAccounts OfficerGuest Writers + ContributorsKate Abon, Amanda Alderson, Maggie Baxter,Wendy Lugg, Diana Roberts, Nyanda Smith,Ted Snell.Perth Office9am – 5pm Monday to FridayKing Street Arts CentreLevel 1, 357 Murray StPerth WA 6000T (08) 9226 2122F (08) 9226 2180perth@artsource.net.auPerth StaffBeverley IlesManager Art Consultancy + Employment AgencyJenny KerrSenior Art ConsultantLouise MorrisonArt Consultant, Client ServicesJennifer ChandlerCoordinator Client ServicesIsabel JohnsonCoordinator MembershipIn this issue…City of Wanneroo Art Awards....................................................................2Letter from the Executive Director........................................................4Letter from the Chair.........................................................................................5Art Industry Update...........................................................................................6Visual Arts Industry Affairs and Issues..............................................6Resale Royalty Right......................................................................................6Protocols for Arists Working with Children..................................6Department of Culture and The Arts Policy Framework...6Artists and Public Art....................................................................................6Showing Up!.......................................................................................................7Featured Artists:Philip Gamblen – Relaying history through art........................9Erin Coates – The Body and the City..............................................11SymbioticA – Adaptation.......................................................................13Tony Windberg – Compositions....................................................... 15Shane Pickett...................................................................................................17Employment Agency + Art Consultancy.......................................20The Newman Town Centre Park.......................................................20St Mary’s Cathedral.....................................................................................23Small Business Solutions.........................................................................25Studios + Residencies....................................................................................25Artsource Residency Opportunities..............................................252010 Artsource Residency Fund.......................................................25Basel, Switzerland........................................................................................25Artspace, Sydney..........................................................................................25Residency Reflections...............................................................................276X6 Artist Talk..................................................................................................27Artsource Studio Update........................................................................27Midland Studios............................................................................................27Regional + Indigenous ArtistDevelopment Program.........................................................................28Members’ News..................................................................................................29Artsource Welcomes New Members................................................32Artsource Membership Categories +Benefits 2010.................................................................................................33Artsource Discount Directory.................................................................33Classifieds................................................................................................................33www.artsource.net.auDisclaimerUnless otherwise stated, all images are publishedcourtesy and copyright of the artist(s). The imagesand photographs may not be reproduced usingany means, without the express permission of thecopyright holder.Statements and Informationappearing in this publicationare not necessarily endorsedby, or the opinion of Artsource.DesignPrinted by Supreme Printers on ecoStar.

Letter from the Executive DirectorLetter from theExecutive DirectorJude van der MerweWelcome to the autumn editionof our newsletter. We arevery pleased to bring you acollection of articles preparedby participants in Artsource’sinaugural art writing course, The Crit & The Dead,ably run in 2009 by Ara Jansen.It is pleasing to see the numbers of artistsselected for this year’s Biennale of Sydney. CuratorDavid Elliott visited WA as a guest of Artsource inearly 2009. We arranged an extensive programfor him including visits to numerous studiosand galleries as well as further meetings withPICA and PIAF. Chris Pease, Kate McMillan, PilarMata Dupont, Tarryn Gill, Rodney Glick and pvicollective will form the largest contingent of WAartists invited to exhibit at the Biennale, openingin May this year.Wasps Artists’ Studios in Scotland recentlyannounced they will receive one millionpounds (AUD1.7m) government funding for thedevelopment of artists’ studio spaces acrossScotland. While Australian organisations areunable to achieve this sort of key governmentsupport it was pretty exciting news and we arenonetheless doing what we can. We hope to seemany of our members at the formal launch ofLifetimeAchievement AwardsFor significant contribution to the visualarts and culture of WAWednesday 26 May 2010AGM 6pm AWARDS 7pmFor updates + notifications:www.artsource.net.auRightKate McMillan,Somewhere betweenloss and losingthe Midland Studios – our biggest new studiodevelopment in WA since the opening of OldCustoms House twenty three years ago.On a state level, we find ourselves in familiarterritory. WA now appears to be firmly back inboom territory – the number of jobs testifies tothis – and our state government has recently madedeep cuts to all government departments. Theresult of this for the arts sector is that $5.5millionof funds, allocated by the previous governmentspecifically to enable the growth and developmentof the sector, have been stripped away. We areonce more in the position of having to prove of thevalue the arts to the public. Sound familiar?On a recent trip to the Middle East, I hadthe great pleasure of meeting the initiators ofa terrific new approach to public art. RobertFerry and Elizabeth Monoian have developed acompetition based project called the Land ArtGenerator Initiative. This new take on land art andtheir abiding passion for sustainable solutions tothe challenges of our time present fascinatingpossibilities for artist engagement with practical,aesthetically resolved solutions.Back at the office, we have made somechanges to the way our Art Consultancy andEmployment Agency services operate. Wewelcome new Manager of Consultancy andEmployment, Beverly Iles to the team. Over thepast five years the employment opportunitiesfor our artist members have grown from $2.95min 2005 to $17.45m in 2009. The volume of workloadand the doubling of our membership overthat time dictate a greater investment in time andmanagement to deal effectively with the work.Two new positions are currently being recruitedfor and other staff changes see Clare Peakereturn to more study while Jennifer Chandler willhead off on an overseas trip before a move toMelbourne in May. We will miss them both butare pleased to welcome Isabel Johnson as ournew Membership Coordinator in Perth.Launched seven years ago, our onlineartist database is in need of an upgrade. We arecurrently scoping a more efficient web presenceto provide better access to services, improvedprofile for our members and ease in updating infoand images. We will keep you posted.I look forward to seeing many of you atour upcoming AGM and the second ArtsourceLifetime Achievement Awards in May.We hope you enjoy this issue.Jude van der Merwe

Letter from the ChairGraeme RowleyLetter from the chairThe Crit& the DeadThe Crit & The DeadSome of you may be aware that Ihave retired from my day job. Havingbeen part of Fortescue from dayone, I decided that, as I reached theage of 70, perhaps I should examinemy “bucket list” and review some of the other“wonders” which I have yet to address.Such circumstances are made more poignantwhen we recognise and reflect on the recentsad passing of Shane Pickett. Shane will be wellremembered for his enduring contribution tothe practice of visual art in Western Australia. Hewas not only an artist of the Nyoongar people; hewas also recognised as a leading contemporarypractitioner in the field of visual art in Australia.Yes, we all should take time to reflect andensure we are making best use of the daysallotted to us. For those of us involved in the artsit is the somewhat “heady” realisation that theresults of our contribution live long after us. Whata wonderful opportunity for such an ongoinglegacy. Perhaps all the more reason to considerour options and assure ourselves we are fulfilling,to the best of our endeavours, the optionsavailable to each of us today.My next contribution is to become a memberof the film industry and, as Executive Producer,help create a movie titled “Bugle Boy”. In case youasked the question, “What does Graeme knowabout movies?” the answer is nothing. However,I do not believe that matters. What is importantis that this is something I want to do, part ofmy “bucket list”. It is artistic, creative, exiting andit is about a period in the history of Fremantleand WA which is worthy of recording. The settingis 1942 when there were probably more “Yanks”in Fremantle than “Aussies”, a time when, if youwere a male of Italian origin you were probablyinterred. But enough of the story, the plan is tocommence filming in August and I will keepyou posted.On 30 April, Artsource will formally open thenew studios in Midland. Our new developmentwill house 18 artist studios which constitutesa major contribution to the developmentopportunities for artists which live in the Midlandarea. This is another major milestone for Artsourceand I am personally very proud of the ongoingpart we play in the development of artists in WA.I would like to finish today by complimentingthe tireless work of your Executive Team. Theresults being achieved on your behalf by this smallgroup of dedicated people, ably lead by Jude,is exciting and shows the potential of growingopportunities for all the membership..The Crit & The Dead was a workshopopportunity for artists to improve theirwriting skills with a view to being published– and possibly becoming permanent writersfor the arts media.A small group of local artists attended amonthly class for six months. This allowed themtime to work on pieces of writing which would besuitable for publication. The pieces were in turngiven to a handful of industry professionals whooffered feedback on the work.Classes covered topics which ranged fromcopyright and interview skills, to story structure,ethics, selling your writing and using appropriatelanguage to engage a target audience.A guest speaker attended each class to sharetheir experiences of writing and the arts industry.They included respected national art critic JohnMcDonald, arts editor of The West AustralianStephen Bevis and Scoop editor Danielle Benda.Both the talks and class topics provoked livelydebate from all sides, particularly about the levelof quality criticism in arts writing and reviewing.Writers who participated and who arepublished in this edition of the ArtsourceNewsletter: Kate Abon, Amanda Alderson,Diana Roberts and Wendy Lugg.Graeme RowleyAra Jansen, a journalistwith 21 years experience,taught The Crit & The Dead.

Art Industry UpdateVisual Arts IndustryAffairs and IssuesUpdate by Jude van der MerweResale Royalty RightMany of you will be aware that the newlegislation The Resale Royalty Right waspassed by Parliament in November 2009, andnow waits the next part of the process, the RoyalAssent and a six month period following thatbefore it is finally implemented.It’s important for artists to be aware that theRight will not apply to works sold in the primarymarket prior to the legislation coming into effect.The minimum threshold will be $1,000 and allworks will attract a 5% royalty. We understandthat a collecting agency will be appointed tooversee the process shortly.Protocols for AristsWorking with ChildrenThe Australia Council recently conducted areview of the first twelve months of theirprotocols document. Our membership wasinvited to comment either through us or directlyto the Council.Briefly, our response put the position that theprotocols were developed as a political responseand that there was no documented evidenceof their need. They now place an unnecessaryburden on artists developing an application forfunding support.We believe that setting up protocols inaddition to the existing systems of the ClassificationBoard automatically develops an unwarrantedassumption that adults’ relationships with childrenare dubious. And that artists’ relationships withchildren are especially dubious and requireregulation. If a member wishes to see the fullresponse, please contact jude@artsource.net.auDepartment of Cultureand The Arts PolicyFrameworkLaunched on 12 March 2010 after a longgestation, Creating Value, An Arts and CultureSector Policy Framework is intended to form thebasis from which DCA will operate over thenext five years.Framed within the context of creatingPublic Value, the document sets out to clearlyarticulate the key roles and responsibilitiesof the Department. Of most interest to ourmembership is the commitment to undertake anextensive review of internal funding processes.It is clear from DCA’s annual report that this is anarea that requires work. The cost of processinga single grant grew from $681 to $991 between2007/08 and 2008/09.The review is particularly welcomed byArtsource as we receive numerous calls frommembers specifically in relation to the writtenrequirements for an Art Flight Grant. We lookforward to a simpler, more user friendly approachto this funding stream.For more information about the framework,go to www.dca.wa.gov.auArtists and Public ArtIn February Artsource began a series ofdiscussions with members about specificissues which face them in relation to theirpublic art practice. The first session raised someissues that vex our members. Without giving afull list, key issues include:• overly prescriptive briefs,• sometimes confusing (or changed in themiddle) process for concept developmentand approvals,• tender documents that have inappropriaterequirements at EOI stage,• inability to submit proposals online andrequirements for multiple printed copies,• highly variable fees for conceptdevelopment stage,• project over-run without compensation(this applies to projects that are two yearsover due date).

Showing Up!Professor Ted Snell AM,Chair, Visual Arts Board,Australia Council for the ArtsArt Industry UpdateNo system is perfect, and the varying levels ofexperience from the large range of client groupstend to contain many variations of approach.While the artists polled had numerous concerns,all of them express great appreciation for theopportunities that public art has presented tothem in their practice.We now invite any of our members withparticular issues to put their point of viewinto an email addressed to Beverley Iles,Manager of Consultancy and Employment:bev@artsource.net.auOppositeOlga Cironis,Laughter amongst cloudsCommission for EATINGDISORDER PROGRAM,PSYCHOLOGICALMEDICINE CLINICALCARE UNIT, PRINCESSMARGARET HOSPITALAboveBevan HoneyA Study for aBurnout MachineWoody Allen once said thatninety percent of success isjust showing up. Sadly whenthe Visual Arts Board of theAustralia Council meets threetimes a year to allocate grants, very few WesternAustralians are on the field. Knowing how manyreally good artists there are in the State and howcompetitive they would be if they would just pullon a guernsey, it’s extremely disappointing eachround to see so few in highlighted territory whenthe funding league table is drawn up at the endof discussions.All right! Enough of the football analogy,even though the visual arts grant rounds do raisean interesting comparison with sport. WhereasWestern Australians are keenly competitive inmany areas of sporting and athletic endeavour,why is it they hardly even show up in the VABgrant rounds?One reason may be that the Departmentfor Culture and the Arts in WA has a programof grants that are easily accessible, and forgood projects proposed by artists with ability,not difficult to secure. This is also the casewith Queensland and to a lesser extent SouthAustralia, while NSW doesn’t provide well forindividual artists and hence each VAB roundhas a heavy weighting of artists from that State.Top rightRebecca BaumannNew Work – EMERGING 2009Welcome to the Wonderful World of Emotion and ImpactWell, if this is the case why should artists from theWest bother to compete nationally?Firstly, because the State Government hasinvested in the program through the Visual ArtsCraft Strategy and there are a number of grantsthat are earmarked for Western Australian artists.Another reason for applying is because thereis a credentialing aspect to winning a nationallycompetitive grant. In developing a professionalcareer in the arts an important step is to gainnational recognition and Australia Councilgrants are an effective way of achieving thatmilestone. It is also an excellent forum for makingan impression on the select band of artists, artsadministrators and curators who sit on the panels.A strong body of work presented to this groupcan lead to unforeseen opportunities.Of course applying for a grant takes time.Every application is a project that must beattended to thoughtfully and each requires anallocation of financial and professional resources.Despite the effort to ‘harmonise’ forms for Stateand Federal agencies, it is true that each has itsown idiosyncrasies and different grants demanddifferent approaches and often a unique set ofrequirements. It is therefore important to setaside some time to thinking about your projectand to identify a space in your calendar forpreparing the application. Ideally this should bedone in tandem with studio work; do not see it as

Art Industry Updatea tedious form filling exercise but as an extensionof your creative work.A great deal of time has gone into makingthe VAB application process less arduous andnow it is online it is even easier. The VAB staff arekeen to talk candidates through the applicationprocess – that’s really true, it isn’t just a bit offluff to make you feel supported – indeed it’sencouraged because you can save a lot of timeby talking a project through with sympatheticindividuals who know the pitfalls. Of course yourimages or video must be of good quality andthat’s not always done without cost, but againnew technologies are making this both easierand cheaper.Excellence is the benchmark, if the ideaand work is good it will be funded within theconstraints of the budget, and the best way toaccess the merit of the work in this forum is onthe quality of the support material. Show yourimages to friends, get feedback from other artists,and don’t just send in snaps or photographs ofTop leftGregory Pryor receiveda grant from the VisualArts Board of the AustraliaCouncil for a residencyin the UKBlack SolanderTop rightDragica Milunovic– received funds fromthe Australia CouncilSpring 2008Marks Series 2 (cube 2)people at your last exhibition opening or longunedited videos.Australia Council grants are designed to assistin the creation of new work, in the presentationand promotion of innovative and excellent workby Australian artists in local and international fora,and to provide opportunities for professionaldevelopment, both technically and intellectually.Because excellence is the benchmark the Boardno longer requires artists to have a fallow yearfollowing a successful application. We don’tbelieve creativity comes in two-year cycles, soif you have acquitted your grant from the yearbefore you can re-apply the following year. Thisis an important innovation.Now to the bottom line; if you want a hintto get your first grant, read the Chair’s reportpublished after each grant round and identifywhich are extremely competitive and which less so.Skills and Development grants are less competitivethat New Work grants, some overseas studios areless popular than others leading to considerablyless demand and so good applications are almostguaranteed success. Be strategic!With one VAB grant to your credit and theboost of confidence that inevitably follows, andwith a range of experiences behind you andincreased acknowledgement of your practice, it’smuch easier to apply a second and third and fourthtime. If you’re not successful, get feedback fromthe VAB staff and begin to re-craft your applicationimmediately for the following year. If you’ve beenworking for many years and exhibiting regularlythink about applying for a two-year Fellowship,now $60,000 a year for two years.In other words, get in the game. It’s clearfrom anyone who does the rounds of galleries inWestern Australia that there are a great many verycommitted, talented and ambitious artists doingwork that is inventive, thoughtful and pertinent.It’s not about re-building WA’s tarnishedreputation or engineering some kind of bellicoselocal pride, it’s about getting appropriate supportand recognition for the excellent work that goeson here and ensuring that the funds allocated tolocal artists are accessed and supplemented byother available funding. It’s about showing up!Ted Snell continuously makes a significant contributionto the Australian visual arts sector through many roles.Currently Winthrop Professor and Director of the CulturalPrecinct at the University of Western Australia, Ted waspreviously professor of contemporary art and dean of artat the John Curtin Gallery, and chair of several national artsorganisations. He also manages to find time to curate, writeand is a practicing artist.

Relaying historythrough artWords by Wendy LuggRelaying history through artRightPhilip Gamblen in theMuseum. Image courtesy ofthe Department of Cultureand the Arts.Photographer:Tom Rovis-HermannMuseum and arts professionalscame together at the 2009Museums Australia WA (MAWA)conference, for a lively sessiontitled New Interpretation:Artists and Collections. For Jane King, ExecutiveOfficer of MAWA, the energy she felt in theroom reflected what is happening around thestate. Organisations, recognising the potentialbenefits of bringing in artists to re-interpret theircollections, are finding ways to make it happen.As collection based residencies gainmomentum, MAWA is a resource artists shouldknow about. 1 Whilst it is up to the artists to puttheir case and build a relationship, Jane King saysMAWA can help to get them started by brokeringa suitable organisation to approach and engagein conversation. She feels that opportunities existparticularly with collections financed throughlocal government, a view shared by SoulaVeyradier, Curator at the City of Melville, whochaired the MAWA conference session.With a background in both art historyand museum studies, Soula is an advocate ofthe mutual benefits which can arise from thedialogue between artists and museums. In herposition at the City of Melville, looking afterthree museums but also an art gallery, she iswell placed to make that happen, and was quickto take advantage of a new form of STAR (shortterm artist in residence) grants offered by theDepartment for Culture and the Arts in its 2008funding round.This new funding was initiated as partof the DCA‘s Community Collections ActionPlan, 2 with the aim of supporting collectingorganisations to explore their collections innew ways and to engage with new audiences.The City of Melville‘s Wireless Hill Project,currently nearing completion, was one ofthree successful applications.Since then all funding programs fromthe Community Collections Action Plan havebeen placed under review (and are likely tore-emerge in modified versions later in 2010).However, applications for collections based artistresidencies continue to be eligible for supportthrough the DCA Arts Development program.It is encouraging that although the formalevaluation of the two already completedresidencies is still underway, the DCA hasexpressed pleasure with the results, particularlythe level of engagement between the artistsand the organisations, and the quality of theirpublic programming.Soula‘s goal with the Wireless Hill Projectwas clear. Presenting history through art is away to get material out to a wider audience, toget critical engagement happening. Of the Cityof Melville‘s three museums, the Wireless HillTelecommunications Museum, 3 with its highlyspecialised collection, is the most difficult toget a general audience to engage with, but hasfantastic potential for innovative interpretation .Aware of artist Philip Gamblen‘s work, sheinvited him to visit the museum to explore thepotential of a residency. Watching his response,she knew immediately that this was a wonderfulfit . Philip agrees. When I walked into thatmuseum for the first time, and saw all this simpleold technology, I was really excited. The wholeidea behind the museum and the technologyand the objects themselves fits my way ofthinking and working.In my work I like to strip back the layers ofcomplexity, and reveal technology for what itactually is. I like to take the covers off. Some ofthese old radios never had covers to begin with,but just had all the components out in the open.You could see how it worked just by looking at it.It was brilliant!A lot of these things in the museum were likeartworks already. Even though an old radio wasnever made as an artwork, I‘d look at it and see abeautiful little sculpture. That‘s what inspired meto take up the residency.After four months of exploring the collectionand developing work, Philip‘s residencyexhibition, Relay, is currently installed at theHeathcote Museum and Gallery. 4 The residency

Relaying history through art“When I walked into that museum for the firsttime I was really excited. The whole idea behindthe museum and the technology fits my wayof thinking and working.”afforded an opportunity to step back from the process-driven problemsolving of his recent technologically complex art projects.Instead, Philip chose to concentrate on what things look like andwhat they mean, rather than what they actually do. He has pared back thetechnical aspects of the exhibition, keeping it simple, almost minimal, usingthe wireless idea as a starting point and drawing on the aesthetics andconcepts behind it, in an exhibition which will surely generate more interestin the museum and its collection.The benefits to the artist are manifest. Although the exhibition officiallysignifies the culmination of the residency, Philip is not ready to put theWireless Hill Project behind him. He hopes to pick up where he left off,revisiting ideas and taking them further, experimenting in his own time, freefrom expectations, just playing. There is no conclusion to this residency. Thisexperience will always be there now, and will never go away. A door is opened.Relay runs until 18 April at Heathcote Museum + Gallery.Footnotes1 Museums Australia WA t: 9427 2770 e: ma_wa@museum.wa.gov.au2 more info on the DCA ‘s Community Collections Action Plan can be found athttp://www.dca.wa.gov.au/programs/Initiatives/collections3 The Wireless Hill Telecommunications Museum, Telefunken Dve, Wireless Hill Park, offAlmondbury Rd, Ardross. Open by appointment Tue – Thur. Contact t: 9364 0158,e: localhistory@melville.gov.au4 Relay, March 13 to April 18, Heathcote Museum and Gallery, Heathcote Cultural Centre,Swan House, Duncraig Rd, Applecross. Tue-Fri 10am 3pm Sat & Sun 11am 3pm t: 9364 5666From top to bottomToroidal, paper, perspex, LEDArtwork by Philip GamblenImage courtesy of the City of MelvilleSoula Veyradier and Philip Gamblen examine one of hisexhibition artworks. Image courtesy of the City of MelvilleWendy Lugg maintains a busy international arts practicefrom her home studio in Perth WA. She is currently workingtowards a 2011 exhibition, exploring history, place andidentity, which will comprise a major collaboration with theState Library of Western Australia and the Royal WesternAustralian Historical Society. Wendy participated in theArtsource Crit & The Dead writing course.10

The Body and the CityWords by Kate AbonThe Body and the CityHow do we move through thecity? What are we aware of and whydo we notice what we do? What arewe not seeing? Erin Coates’ artworkencourages us to think about ourposition in the urban landscape, literally.Currently artist in residence at Red GateGallery in Beijing, the Perth artist is exploringand responding to a rapidly changing cityscape.“Beijing is an incredibly interesting placeto be for me – almost overwhelmingly so– because of its density, the disparate modesof spatial production and the pace and scale ofurbanisation taking place here,” Coates says.“The artworks I make, whether video,sculpture or print, are concerned withconstructed space; I am interested in the builtenvironment, how we inhabit it and how wedemarcate the limits of the specific spaces weproduce,” she says.Architectural and urban structures influenceour movement through the city. Coates isconcerned with how the organic human bodyresponds to these rigid structures.“In Perth, and in other places I have lived,I have been very interested in the relationshipbetween the body and the city – in the waywe move through it and what mediates thatexperience,” she says.“I became quite interested in cars as discretespaces, especially in Perth as this city has such acar culture, and this was part of the inspiration forthe Transmission project,” she says.In October last year Coates appropriateda disused car yard and turned it into a screengallery for one night. Using rear-projectiontechniques, four artists lit up the kiosk with videoworks specifically created in response to the site.Transmission transformed the space into a walk-intheatre, complete with attendants distributingprograms and refreshments.One of the video works Coates andcollaborator Loren Holmes made for Transmissionshows yellow advertising ‘people’ billowing inhumorous yet slightly disturbing ways, freed fromthe necessity to promote anything.In the work Multi(horror)story a similar yellow‘person’ or thing appears in the back seat of acar being driven by a lone woman. The yellowblob eerily expands in the car causing a sense ofsuffocation for both the driver and viewer.The disjointed inside-outside space of thecar, the car space in the city and the car’s placewithin our society are explored in Transmissionwith irony.Coates says that her interest in cars andmotion is informing her current work.“In Beijing there are so many ways to movearound the city; for example in the hutongsand small networks of streets you see the mostincredible bike-trolley driving, and in generalpedestrians are so much more aware of the spacearound them and how they navigate the street– no one would fall down a hole that the councilhadn’t marked with giant flashing lights and thentry to sue them,” she says.“At the same time, car ownership isexponentially increasing in China, and you endup spending so much time in vehicles crawlingthrough traffic, that the car really is a ‘place’– people eat in them, sleep, and have phonemeetings there.”“One of the new pieces I’m making usescar airbags and concrete, and continues myinterest in the movement of the body throughthe city and this idea of the car as a mediatingapparatus,” she says.TopStill from Multi-convulsive,Erin Coates andLoren Holmes, videoprojection, 2009AboveStill from Erin Coatesand Loren Holmes’Multi(horror)story,two channel videoprojection, 200911

The Body and the City“[Beijing] is a complete contradiction betweentraditional ways of life and hyper real ways.The city is changing in often contested ways– it is not a smooth transition.”“The tension between these two materials, the way they interact andpush again each other is what I’m interested in, and its in this way I’m tryingto communicate something about the relationship between the body, thecar and the city,” says Coates.We move through cities with a sense of space that is created in responseto this complex relationship.When driving, the outside environment becomes fractured as weshift our attention between the inside space of the car and the city. Thisbreak in continuity also occurs when walking, when our internal thoughtstemporarily blind us and we don’t notice where we are.However, our sense of space is not fractured as we are able to imagine orremember places and fill in the gaps. Coates says that this process is similarto the way film works.“Film is a disjunctive space, sutured together to be smooth,” she says. “Filmitself is segmented yet there is an illusion of seamlessness in films that mimicsour aptitude to disregard certain places and generate a flawless cityscape.”Coates sees this disjunctive quality reflected in Beijing, which is part ofthe city’s attraction.“Beijing is a city in flux, it is not static,” she says. “It is a completecontradiction between traditional ways of life and hyper real ways. Thecity is changing in often contested ways – it is not a smooth transition.”“There is so much you need to take in and process in a city like Beijingbefore you can make any meaningful responses,” she says.Coates’ residency at Red Gate Gallery concludes with an exhibition titled Surface Tension.The exhibition will be with Justin Spiers, who is undertaking the residency with her.Coates received funding from the Department of Culture and the Arts to exhibit in Beijing.Coates lecturers seasonally in architecture at the University of Western Australia, in visualarts at Edith Cowan University and is on the exhibition team at the Fremantle Arts Centre.TopProjection works fromTransmission. Left:Gian Manik Untitled(we’re fucked), 2009.Right: Erin Coatesand Loren Holmes,Multi(horror)story, 2009AboveTransmission: one nightvideo gallery, BeautfortStreet, Perth.October 2009.Kate Abon completed a Bachelor of Visual Arts at Curtinin 1998. Her final semester was spent studying at the artschool in Paris where she happily got lost in conceptual art.Finding herself in Perth last year, she undertook honours atUWA. This year she plans to immerse herself in writing andphenomenology. Kate participated in the Artsource Crit &The Dead writing course.12

AdaptationWords by Amanda AldersonAdaptationExploring the microbe to the macro,and everything in-between,Adaptation is SymbioticA’s art andecology research project.Embedded in Lake Clifton, southof Mandurah, Western Australia, Adaptationfeatures a dynamic program of artist residenciesand events with a vibrant community program.Lake Clifton as a location and a metaphor, offersa microcosmic peak into the broader issues ofecology and life itself.Based around this irreplaceable lakeecosystem, Adaptation broadly scopes issuesspanning the creation of life; indigenous culture;colonisation; scientific discovery; developmentalbooms; to fragility in the face of climate change.Lake Clifton is home to the thrombolites,or ‘living rocks’, built by micro-organisims. Withtheir similarity to the earliest forms of life onearth, and due to their rarity, they hold majorsignificance. Interest varies from groups as broadas NASA searching for life on other planet toarchaeologists tracing the evolution of life.A vital feeding and nesting site forendangered migratory birds, including the almostextinct Hooded Plover, the Lake is surroundedby thickets of at-risk Tuart trees. Seemingly minoractions such as introducing a fish species into alake, to major changes such as global warming’saffect on rainfall, deeply affect this remarkableecosystem, paradoxically putting in danger thevery organisms responsible for life itself, thoseliving on the thrombolites.The uniqueness of the reef, the surroundingarea and its fragile existence has presentedan exceptional opportunity for artists andresearchers to engage with the many narrativessurrounding the Lake. Inspired, SymbioticAconceived the Adaptation residency program.An artistic laboratory, SymbioticA is dedicatedto the research, learning, critique and handsonengagement with the life sciences. With anemphasis on experiential practice, SymbioticAfacilitates a thriving program of residencies,research, academic courses, exhibitions,symposiums and workshops. Its location withinthe School of Anatomy and Human Biology, atThe University of Western Australia, enables artistsand researchers to get their ‘hands-wet’ anddirectly access scientific tools and techniques.The seven Adaptation residency projectswill share time between the Lake, the City ofMandurah and SymbioticA’s labs. Continuing into2012, the invited and selected artists will focus onprocess based research, fostered from a diverseapproach and medium.In Perdita Phillips’ aural tour The SixthShore, participants, through their movementsand interconnections, choreograph their ownpersonal sound-scape. Stories from local historyto recordings from the Lake are featured.Informed by Lake Clifton, Sharing the Edge isa suite of poems and landscape memoirs writtenby poet Annamaria Weldon, whilst workingcollaboratively with naturalist Laurie Smith.Williams based farmer/artist CatherineHigham takes a holistic view to the ecosystemand will explore individual and collective impactson Lake Clifton and their effects on water basedecosystems at large.Paralleling one of the fastest growingAustralian regional cities to one of the slowestgrowing life-forms, the Slowest Growing Sculpture,Vyonne Walker, in collaboration with theSymbioticA Research Group, will attempt to growa living sculpture from cyanobacteria.Through research and consultationMandurah based sculptor/public artist CoralLowry will inform and provoke thought andaction toward the conservation of the unique siteof Lake Clifton.Focusing on the thrombolites, sculptor andcommunity artist Carmel Wallace, from Victoria,will explore the possibilities of collaborating withorganisms in the print making process.TopAnnamaria WeldonLake Clifton, North WestView, Low Water, 2009AboveCarmel Wallace,Printmaking Study, 201013

AdaptationThe balance of drawing attention to a protectedecological site without harming it will need tobe navigated.The Autotroph, SymbioticA Director Oron Catts’ playful kinetic sculpture,explores the problems of using technology to engineer ‘solutions’ toecological issues. For Catts, art and ecology reflects a shift from his workin the Tissue Culture and Art Project with collaborator Ionat Zurr. Whilst stillexploring the issues and finding new ways of telling stories, Catts’ says “I cansee some connections. But rather than having the live component, the livingtissue, the fragments of life being the centre of this piece, the focus is totallydifferent. It is about removing aspects from the environment. I think alsowhat this piece is highlighting is the complexity of the issue. Once you startto intervene with systems you often create a whole new series of problems.So it is a piece about the complexity of intervention rather than solution toan environmental problem.”Art and ecology can also be seen as a shift from the laboratory centredwork that SymbioticA is renowned for. However it still addresses a core areaof research – that of the complexity of living systems. Adaptation continuesSymbioticA’s focus on the exploration of the shifting relations and perceptionsof life. It opens important dialogue and debate surrounding human inaction,intervention, responses and responsibilities to the world at large.As a new style of residency program for SymbioticA, Adaptation isalmost an experiment in itself. The balance of drawing attention to aprotected ecological site without harming it will need to be navigated.With such fertile ground for storytelling, engaging in Adaptation as itdevelops is sure to be intriguing.Further information on SymbioticA and Adaptation visit:www.symbiotica.uwa.edu.auTopAnnamaria WeldonBird Claws in Mud, 2009MiddleCarmel WallacePrintmaking Studies, 2010AboveVyonne Walker,Lake Clifton, 2008Amanda Alderson is an artist and curator. Focusing onemergent and contemporary arts she has enjoyed a varietyof roles in Western Australia’s vibrant artistic community.Her artwork and life philosophy is centred on her passionfor incidental narratives. Amanda particpated in theArtsource Crit & the Dead writing course.14

CompositionsCompositionsWords by Diana RobertsTony Windberg used to find the WestAustralian bush unattractive andconfronting. The bright sun and harshdry land were such a contrast to thesoft light and grey-green tones of hisformer home in Victoria that he took a while toadapt. Over time he’s unearthed its beauty andcarved a niche as a respected landscape artistwith a flair for realism.Now immersed in the South West,Windberg’s affinity with nature has matured intoreflective observation of the rural landscapenear his studio in Northcliffe. Yet the mood thatunderscores his work seems to echo that earlystruggle with the West Australian wilderness.“Our anxious relationship with Nature has itsroots in Romanticism,” he says in the notes for hislatest exhibition.Compositions, Windberg’s first solo show atGunyulgup Galleries in Yallingup for five years,combines new works with some previouslyexhibited pieces. At first glance, the rural scenesand forest studies look purely naturalistic andscenic. Closer scrutiny reveals his work is full ofallusion and metaphor.“There‘s a theme that’s been building upover the years; our insistence on grafting alienconcepts and culture onto the landscape,”says Windberg. “Our lack of will to adapt isphenomenal. That theme gets stronger everyplace I go” he adds.Windberg’s affinity with nature began inchildhood. Born in Melbourne in 1966, he spenthis youth on the urban fringe, bushwalking andimagining a career in science. Instead he wentto art school in Perth and grew his reputationpainting West Australian trees.His first solo show in 1989 was a sell-outand led to a portentous commission fromArgyle Diamonds.“They were on the look-out for an up-andcomingartist to create twenty-five artworksresponding to the landscape around their minein the Kimberley,” says Windberg. “I went up ona research trip and they flew me all over the site.It was awesome, and that fired my interest in ourgreat big footprint all over the landscape.”Whilst the aerial view of an open-cut diamondmine sparked Windberg’s early interest in anenvironmental subtext, the concept of aestheticbeauty is integral to his work. On one occasionrusty machinery spotted in an abandoned minein Meekatharra provided inspiration.“I look for beauty in destruction,” he says.“The initial impact on seeing something likethat is ‘what an amazing form’. It representsabandonment. On one hand it’s a seductiveobject, and yet the repercussions of whatit means and why it’s there are really aboutenvironmental destruction.”Windberg often uses irony and humour toavoid moralising. “I don’t want to ram home thepoint so it becomes didactic,” he says. “It has towork as a painting within the confines of the space,not some form of message with a capital ‘M’,because then the art becomes art with a small ‘a’.”Windberg’s 2005 painting Genesisillustrates his approach. He uses a diptychformat to connect two disparate objects; acloud – a Romantic symbol of nature – anda cloth-covered boat.“Apparently Karratha has the highest percapita boat ownership in Australia,” he says.“There’s a huge amount of wealth and a lot ofTopTony Windberg,Containment 111AboveWindberg at workoutside his studio15

Compositionsboating activity. Every second driveway’s gota boat, covered against the elements.“It’s a very dry place. For half the year thebillowing clouds build up on the other side of thehills, but it never rains,” says Windberg.“I like the semi-abstract shape of the boat,”he adds. “I wanted to make it seductive andbeautiful, and I was deliberately referring to theway Renaissance artists had to prove their worthby how well they could paint folds of drapery. Ilove that as a symbol of cultural imposition.”Windberg lived and worked in the Pilbarafor four years. Then in late 2005 he accepted aninvitation from friends to be artist-in-residence ontheir former dairy and tobacco farm in the karriforest near Northcliffe.His solo exhibition at Gunyulgup showshow he’s absorbed the characteristics of his newlocale into his work. Detailed close-ups of treebark drawn with ash and charcoal represent thelandscape materially and metaphorically.“I feel I’ve come full circle,” he says. “The firstpoint of contact is the forest; you can’t ignorethe trees.”Yet he retains an enduring interest inRomanticism. Moody landscapes filled withpervasive fire smoke hint at nature’s threateningpower. Whilst monumental stacks of silagebales wrapped in plastic symbolise layers ofcultural traditions grafted from Europe ontoAustralia’s landscape.Decomposition1, a finalist in last year’sAlbany Art Prize, captures his ideals. Inspiredby a contemporary image, it retains Romanticovertones. Beautiful in its decay, the tornplastic wrapping of an abandoned silage balegusts in the wind like an elaborate piece ofdrapery, or a sail. Windberg says it reminds himof the doomed vessel in Théodore Géricault’sThe Raft of the Medusa.From shrouded boats to silage bales,contemporary scenes are Windberg’s metaphorfor man’s attempt to tame and harness nature.His meticulous realism looks conventionaland descriptive, but it’s illusionary. He gathersinspiration and material from his surroundingsand shapes them into new compositions.An accomplished and award-winning artist,widely exhibited and collected, Windbergneither paints the picturesque nor followstrends. Occasionally we catch a glimpse of anew approach. Meanwhile, the West Australianlandscape remains his constant muse.The Romantic concept of the awe-struckfigure in the landscape is an apt analogy forWindberg; paradoxically confronted and inspiredby the natural world, at times perturbed by theisolation, yet deeply gratified by his situation.Compositions exhibited at GunyulgupGalleries 27 February – 14 March 2010. TonyWindberg’s recent work also on view in OverThere: Survey 2010 Art in the South West atBunbury Regional Art Galleries 13 February– 11 April 2010.Scots-born Diana Roberts is an independent art-historiancuratorwith an international background in collections,exhibitions and gallery management. A former director ofBunbury Regional Art Galleries and ECU visual art theorylecturer, she is now channelling her extensive knowledgeof the South West art world into a PhD through CurtinUniversity. Diana participated in the Artsource Crit & TheDead writing course.TopTony Windberg,Decomposition– Hill Brook Road16

Shane Pickett19 February 1957 – 15 January 2010Shane PickettAs an artist, mentor and cultural leader he gave over thirty years service to WesternAustralia and his Nyoongar community. He exhibited selfless generosity to the goodof his community. He committed himself wholeheartedly to every endeavour that heundertook. He was a contemporary artist of the highest level. His importance to thedevelopment of Australian art has been institutionally recognised across the country.He has left a cultural legacy that has redefined the artistic landscape of our nation.Written in loving memory of Shane Pickett on the occasion of his memorial gathering.His traditional name means the soft light ofthe moon. Those who knew him knew it to bea fitting epithet. A man of gentle disposition, hewas an artist of the highest order. In his paintingshe showed an inner strength that he knew camestraight from the landscape and the Dreaming.Through paint he revealed his close personalunderstanding and relationship to this landscape,working tirelessly to reveal its hidden meanings,and its hidden truths.Over three decades, this quest saw himacclaimed as one of Australia’s most importantcontemporary artists. His works were acquired bythe National Gallery of Australia, the Art Gallery ofWestern Australia, the National Gallery of Victoria,the Museum and Art Gallery of the NorthernTerritory, the Western Australian Museum,Australian Parliament House, the Berndt Museumof Anthropology at the University of WesternAustralia, along with numerous important privateand public collections. His paintings travelledthe world, being exhibited in Asia, America andEurope, as well as in over 50 exhibitions acrossAustralia. In 1986 he was winner of the Museumand Galleries Award at the Third NationalAboriginal Art Awards. In 2006 he was the winnerof the City of Wanneroo Painting Prize, the City ofJoondalup Invitation Art Prize and the SunshineCoast Art Prize. In 2007 he was awarded theDrawing Together Art Award and in 2008 he wasthe winner of the NAIDOC Moorjditch Mar-DaaArt Award. In both 2008 and 2009 he was voted‘people’s choice’ winner at the Western AustralianIndigenous Art Awards and in 2009 he wasawarded the Online People’s Choice Award fromthe Telstra National Aboriginal and Torres StraitIslander Art Awards.Despite his success, he remained groundedin the teachings of his Nyoongar heritage.As a father and grandfather, he saw his mostimportant role in being an ambassador for hisNyoongar culture and beliefs. He once saidthat his greatest joy was seeing the tears ofold men and women from remote Australiaas they recognised in his painting the tracesof the Dreaming. In his life and in his artworkthis Dreaming ran strong. It was through hisknowledge and cultural identity that his paintingssang so powerfully of his Nyoongar heritage. Hislegacy is a powerful vision of individual strengthand dignity. Like the soft light of the moon, itguides us in darkness and gives us strength.Courtesy of Indigenart-Mossenson GalleriesI am Meeyakba Shane Pickett, a painter of theNyoongar lands. I am privileged to have been taughtthe traditions and cultural values of my father’sJdewat people and also my mother’s Balladongpeople. These include hunting skills, reading ofweather patterns and signs that teach me to respectthe seasons and understand their movements,changes and moods. I have learnt to read thesonglines that journey through all living thingsacross the entire landscape.Every river, every tree, every rock is importantas the Dreaming runs through them connectingall things, including mankind. These are the energypaths of the Dreaming and they are never meant tobe broken, they are never meant to fail. When they arebroken by mankind’s negative effects on the land theenergy paths can never be repaired.I am not yet a culture warrior. The real culturewarriors are the elders – those gifted senior menand women fighting to keep the Dreaming alive.In my paintings, and in my own personal Dreamingjourney I try to honour their teachings, theirknowledge and their law. Together we must workto heal and rebuild to be stronger and stronger forthe Dreamings of tomorrow – to keep our cultureso that the generations to come can live and singof their identity.Shane PickettArtist statement for the exhibition Culture Warriors:The National Indigenous Art Triennial, National Galleryof Australia, 200717

Shane PickettLeftShane Pickett,Djilba calling the sunfor warmth and springtime 183x153cm ,acrylic on linen, imagecourtesy of Indigenart-Mossenson GalleriesRightShane Pickett,The Falling Clouds andMorning Sky, acrylic onpaper, 70 x 50 cm18

Shane Pickett“Together we must workto heal and rebuild to bestronger and stronger forthe Dreamings of tomorrow– to keep our culture sothat the generations tocome can live and singof their identity.”19

Employment Agency + Art ConsultancyEmployment Agency+ Art ConsultancyThe Newman TownCentre ParkWords by Nyanda SmithBHP Billiton Iron Ore Legacy ProjectPresented by Country Arts WA inassociation with Artsource, CuriousWorksand the Newman Community20

The Newman Town Centre ParkIn early 2009, Jessica Machin, CEO of CountryArts WA, received what she describes as ‘thecall you always dream of’. BHP Billiton wishedto invest $500,000 in a wide-reaching artsproject, in the mining town of Newman.The resulting plan was a film festival producedby young people, and a public art programfeaturing the turning of a 2000-square metre parkinto an ‘arts inspired park’, for which she turnedto Artsource.‘We proposed a program that would facilitatemeaningful engagement, which was at the heartof the whole project – bringing in somethingsustained with the community, in order tobuild skills and connections, rather than justintroducing work from outside,’ Jenny Kerr says.Fast-forward a year, and the formation of theNewman Town Centre Park is underway. Reflectingthe impetus, the approach has been lead by anartist, Margaret Dillon of Concreto, working closelywith landscape architect Francis Kotai, back inPerth from working on projects including theMuseum of Old and New Art, Tasmania.Dillon explains that forging a connectionwith the Newman community was like turning ona tap, with initial consultation opening a wealth ofinterest and artistic activity to draw from. ‘On ourfirst field trip we discovered strong art and craftgroups who were really thirsty for engagement.What is interesting about the town is that thereare people there from all around the world livingthere, and there exists amazing knowledge.’Soon after she was back, this time with a(heavy) suitcase of concreting materials for acommunity workshop, transporting quiltingtechniques into concrete mediums. ‘The‘hands on’ activity just while you are sitting andworking means you start talking, themes that areimportant to people emerge.’ she says.Perth artists Judith Forrest and EvelineKotai were commissioned to create works, andcollaborations established with local artists.Previous PageEveline Kotai introducesideas for the stage designAboveConcept quilt designfor decorative paving,Cheryl BothaAboveDada Sampson,Martumili Artists21

The Newman Town Centre ParkKotai worked with Newman quilter, CherylBotha to create patterns drawn from culturaland natural sources, translated into stitch, andthen developed into pavement stencils. Througha mentorship with Forrest, Newman textileartist Nancy Lumsden has designed tree gratesreferencing Pilbara landscape textures andpatterns, to be cast from alloy metals. Text bylocal writer Elaine Tribbick will dot across the park.The centrality of art in the project has allowedtailoring of the built environment to showcaseartworks to their best advantage, and the fluidflow between the two disciplines is clear from theplans – the park’s structure and surfaces intimatelyinteracting. ‘Working closely with Francis hasallowed an opportunity for things like thecreation of walls in places that will contribute toa viewing of a particular artwork,’ Dillon explains.‘We’ve all had to work outside our comfort zones,which isn’t a bad thing,’ Francis Kotai laughs.‘Landscape Architects can often rely on formulaicinterpretive measures and are often dealing withother pressing tasks in a project. The great thingabout art is that it can legitimately circumvent thiscondition so the design process doesn’t need toresult in logical outcomes and we’re compelled toreach a little further to draw our connections.’‘Of course reaching too far runs the risk ofproducing irrelevant design and public spacesso there’s a tension there that’s explored throughthe collaboration of established and emergingartists and the park design. Margaret has playeda central role in this and is a very hands on andgenerous sort of artist. I think we’ve all gained alot from her guidance.’The result is a park that has a series ofgarden ‘rooms’, each with a distinct character,for different purposes. Cultural, environmentaland geological sources form differentthematic threads. A feature is a performancestage developed by the team, that can bepragmatically used (when not in action) as a seatfor hungry lunch-goers. The form references thetown’s open cut mine in relief. Eveline Kotai hasdesigned a pattern of jewel-like stone insertssourced from the Pilbara, to be drilled into thestage in a grid, alluding to blasting patterns.The Martu painters of the Martumili ArtsCentre are currently working with Dillon on agraphic to be screen-printed onto vivid shadestructures. ‘The aim is for them to be visible fromthe Radio Hill perspective, as well as utilising theamount of air traffic overhead.’For Kerr, the model offers an exciting wayforward. ‘This is a new way of operating for us interms of place making, with artists working withthe community and leading the design team. Wewanted a facilitated process of engaging artists’ideas in place making. It’s a model we will useagain particularly in regional towns, because it’sworked really well.’And for Machin, the ‘brilliant’ results alreadyreflect its intended sustainability. ‘The concept oflegacy was something we pushed for – thinkingabout beyond the project, what skills would beleft in the community, what would be physicallyleft, and the legacies from ongoing projects– that have already begun.’TopConcept drawing forbronze artwork, Productionin Newman, Judith ForrestNyanda Smith is a freelance arts writer who hascontributed to The West Australian, Artlink, Photofile,Realtime and radio ABC 720. She spends far too muchtime in op-shops.22

St Mary’s CathedralSt Mary’s CathedralWords by Maggie BaxterOn 8 December 2009, the newly restored St. Mary’s CatholicCathedral enjoyed a spectacular opening ceremony.Subiaco based architect, Peter Quinn had the difficulttask of extending and uniting disparate 19th and early 20thcentury sections. His elegant design connects to the pastthrough material, colour, and texture. The semi-circular extensions provideawe-inspiring, naturally lit space and volume.The art commissions were mostly informed by liturgical practiceand faith. Not all of us were Catholics and we were helped by excellentbackground notes provided by Sister Kerry Willison from the Centre forLiturgy. She and the Archbishop also pushed for West Australian imageryand materials wherever possible.Mehdi Rasulle carved the strong workman’s figure of St. Joseph from onelarge piece of Jarrah; a gecko runs up the leg of his carpenter’s workbench andabove him a portrait of Blessed Mary McKillop, carved from Tuart, looks down.Jarrah was also used for Sanctuary furniture. Dan Flynn’s original designfor a circular altar top was modified to suit the octagonal shape of themarble dais on which sits. The existing ornate Cathedra, or Archbishop’sThrone, is complemented by minimalist chair designs in which the hierarchyof clergy using them is defined through subtle elements such as backheight and arm rests.Dan’s original commission grew to include silver ceremonialaccoutrements. The chalices are detailed with local gemstones, and theArchbishop’s Crosier is a collaborative artwork with Glenice Matthews, whosefinely crafted enamel Geraldton Wax and Blue Leschenaultia grace the staff.In the Processional Courtyard, visitors are greeted by Laurel Nannup’ssandblasted granite images that describe the interconnection betweenNyoongar creation stories and the Bible. Immediately in front, the figureof The Good Shepherd on Antonio Batistessa’s wrought iron front door issheltered by a canopy of gum leaves and surrounded by farmland.AboveDan Flynn,chaliceTopMehdi Rasulle,St JosephAboveLaurel Nannup,Noongar creationstories (detail)23

St Mary’s Cathedral“Many things made this project especiallymeaningful, including that the art is at one withthe passions and beliefs that inform the functionthe building…”The major challenge for Peter Bowles from Glass Manifesto was toensure that his pieces fitted perfectly with pre-designed architecturalelements, old and new.The fourteen Stations of the Cross are a significant devotional focusfor many Catholics. Peter worked in close collaboration with Gerry Darwinwhose evocative and moving bas-relief resin sculptures are backed byPeter’s glass and Masonite assemblages.The jarrah frame that sits immediately beneath the historic stainedglass windows in the Blessed Sacrament Chapel is filled with a series ofclear but heavily textured glass panels, illuminated through the edge.Light washes over the screen, evoking a sense of wonder, while the subtleverticality of the integrated light source leads the eye up to the stainedglass, without competing.At the other end of the Cathedral, the intense blue, cast glass fontcontinues to connect visually to the stained glass, as well as to the waterinspired molten glass Baptistry wall panel. The clerestory windows in thenew Assembly Space are characterised by a series of intersecting red glasslines that reference the geometry of the window spaces.Many things made this project especially meaningful, including thatthe art is at one with the passions and beliefs that inform the function thebuilding, and that each artist was individually honoured through a specialceremony to bless their artwork. I only wish all my projects were like that.From top to bottomPeter Bowles and GerryDarwin, Fourteen Stations ofthe Cross.Antonio Batistessa makingthe wrought iron leaves forthe front door.Peter Bowles designed thetop detail of the windowsof the assembly windows.Maggie Baxter is anartist and public artcoordinator. She was theCoordinator for the St.Mary’s Cathedral project.24

Studios + ResidenciesUpdate by Loretta Martella, Manager Studios + ResidenciesStudios + ResidenciesArtsource Residency OpportunitiesCalling for Applications!Start preparing your applications nowfor our three residency options. Tokick start your ideas the 6X6 talks onTuesday 20 April will focus on artists’experiences of residencies.Closing date for all residency applicationsis Wednesday 30 June, 5pm.Applications will be assessed by a panel ofartists and art industry professionals.Application guidelines and application formscan be found at www.artsource.net.au/residenciesFor further information contactloretta@artsource.net.auThe three Artsource residency options are:2010 ArtsourceResidency FundWherever you want, whatever you want …For the second year, Artsource’s ResidencyFund offers the opportunity for artists to pitchtheir creative ideas for professional developmentresidencies – up to $20,000 is on offer. Applicantsmust be a Western Australian artist with five yearsvisual arts practice and have been an Artsourcemember for a minimum of two years.Basel, SwitzerlandJuly to December 2011In its 22nd year, the Basel residency gives aWestern Australian artist the opportunity toundertake research and creative developmentin Switzerland for six months. The residencyincludes free accommodation and use of astudio apartment in Basel, plus a $26,000 grant.Supported by the Department of Cultureand the Arts and the Christoph MerianFoundation, Switzerland.Artspace, SydneyOctober to December 2011An annual residency for a Western Australianvisual artist to reside at the Artspace VisualArts Centre in Woolloomooloo, Sydney (formerlyknown as the Gunnery) for three months. Freeaccommodation and use of a studio is included,plus a $7,000 grant provided through theDepartment of Culture and the Arts.RightArtspace, Sydney25

Studios + ResidenciesResidency ReflectionsJohn Mayo is a sculptor who mostlylives and works in the USA, but for thelast few months he has occupied ourHenderson Street Residency.At this point I am a bit more than halfwaythrough a five month residency in Fremantle,supported by Artsource. I have come here withmy wife and two children, from WashingtonState, USA. We are living in the Henderson Streetcottage, in the centre of the Fremantle, and it hasbeen an unforgettable experience.Being from a rural area my children havenever experienced urban life. When it comes toeasy urban life, ‘Freo’ has got to be the best. Wecan walk and bike almost everywhere – beachesand everything are within our grasp.I am currently working out of Greg James’foundry and studio down on the waterfront,working on a series of bronzes based on themaritime history of Western Australia, specificallythe shipwrecks.Setting up a new temporary life here inFremantle has challenged me artistically andexposed premises that I didn’t realise I had inmy work. Being removed from my art practice athome has been useful to break bonds and habitsthat I had slid into over decades. Starting outhere with a blank page in the way of materials,technique, and content was a bit disorientatingand frankly a bit scary for the first month or so.Letting this place get inside to the point where Icould process it creatively takes time. I am glad tohave been here for the full 5 months.During the first few months here the partof me that wants to control the creative processkept looking for an ‘answer’ – what and how Iwould create here? I look back through my sketchbook from this period and I see many thingscircled and underlined. Thankfully I resistedcommitting to any of those ideas and stayedopen both to the place and the process.As for the subject matter of my work, I fell intothe story of the Batavia and the other Dutch wreckshere in WA. This slowly developed into a biggertopic as we visited the whaling station in Albanyand the beautiful lighthouse at Cape Leeuwin.Being able to dive here and physically explore themarine history and environment has provided apowerful dimension in my creative process.This has been my first international residencybut certainly will not be the last. I feel likeartistically I have put my creative growth into‘fast forward’ by accepting the challenge ofdoing new work in a new environment.We are deeply grateful to Artsource andthe supporters of this wonderful organisationfor providing the structure and support for thishuge experience for us. Western Australia, andFremantle specifically, has been such a wonderfulplace and will forever be in our hearts.John Mayo will exhibit his residency work atthe Kidogo Arthouse, Fremantle; 18 – 25 April,10am – 4pm.AboveGemma Ben-Ary,BowerAboveJohn Mayo,Bottle for Postcard26

Pauline Goggin from Ireland left us withthis reflection on her experience at theOld Customs House ResidencyI feel so blessed to have had this timehere. I have been able to explore some newpathways in paint and to form something frommy experience in Lake Ballard. I really believethat this studio has been the best I have everworked in. Sitting here on this my last afternoon,sheltering from the killing heat outside, it reallyfeels like a true refuge.AboveKyle Hughes-Odgers,this roof will never holdTop rightMidland Studios hallwaysArtsource Studio UpdateThe Artsource Studio Program keeps developingand expanding, with 57 studios nowmanaged by Artsource across eight locations.New opportunities are presenting in Midland andBelmont, with discussions also underway in regardsto spaces in Subiaco and Mandurah. Unfortunately,our quest to secure affordable inner city studiospaces continues, with our Newcastle Street studiobuilding now set for demolition by the owners.Midland StudiosWe have just secured five new spaces in ourArtsource Midland studio complex, bringingthe total number of studios there to 18. Wewelcome artists Hayley Bahr, Gemma Ben-Ary, ClaireBushby, Claire Canham, Kyle Hughes-Odgers, ElwynMarren and Vanessa Russ to their new spaces.Artsource Midland is being launched onFriday 30 April by the Hon John Day, Minister forCulture and the Arts. Along with the 18 artiststudios, the space also houses JJHQ – the makingand exhibiting headquarters of artist-jeweller,Jessica Jubb, in the street level shop-front. A visualarts honours graduate of Edith Cowan Universityshe creates handcrafted wearables composed offabrics, existing objects, hand-worked preciousmetals and creative stitches.ProfessionalDevelopment6X6 Artist TalksProfessional Development20 April, 6pm @ Artsource FremantleArtists share their experiences of residenciesand the development of their practice,including visiting artist John Mayo, Tom Mùller(2009 Basel Residency) and Tanya Schultz(2010 Artsource Residency).Small Business Solutions– Helping To Grow Your Arts BusinessKaryn Grant and Jennifer Than-Htay gavean informative talk at the recent ArtsourceFunding Workshop. For those who could notattend, they have sent you this message:Small Business Solutions® is a governmentprogram that enables small businesses to accesspersonalised one-on-one business mentoring inthe workplace. This is provided by independentprofessional advisors experienced in smallbusiness who can offer practical advice basedon sound experience.It recognises the skills small businessowners have, identifies any gaps and givessupport and solutions that will improve theirskills and the business.The program’s advisors conduct a business“health check” which diagnoses how well thebusiness is performing, and provide assistance withstrategies to take the organisation to the next level.As well as being government subsidisedand highly affordable ($350 for 3 hours less a$200 subsidy), the advisors conduct Recognitionof Prior Learning assessments to ascertain ifparticipants, based on their working experience,are entitled to qualifications that will add valueto their business.For further information call1300 40 60 80 or refer to the website:www.smallbusinesssolutions.wa.gov.au27

Regional + Indigenous Artist Development ProgramRegional + IndigenousArtist Development ProgramUpdate by Ron Bradfield Jnr, Manager, Regional + Indigenous ProgramThis year will see the end ofRelationship Australia and Healthwayfunded workshops delivered acrossthe Midwest, South West andGreater Southern Regions of WAfor the remaining months of 2010. We hope tore-visit these workshops next year. Artsource isplanning to deliver further regional professionaldevelopment workshops on a demand basis, asdetermined by your needs. So, we’ll be happy tohear your feedback on the sorts of PD workshopsyou’d like to see in your neck of the woods.ACDC has put its hand up in Geraldton andis looking towards developing some more PD forlocal artists and that will be posted later this year.Keep in contact with your local artist group – youmight be surprised to see what they have on offeror, could be arranging on your behalf.We will still be present in the Pilbara. Rio Tintohas us working in Karratha, Roebourne, Tom Priceand Paraburdoo. We look forward to meetingartists in these areas so feel free to contact us tolet us know where you are. It’s always a pleasuremeeting new artists and I look forward tomeeting you sometime soon.Artsource will also be working closely withKidogo this year. Joanna Robertson is pleased toannounce that they will be continuing with theirCertificate III Aboriginal Artist Course – increasingthe knowledge and skills required of Indigenousartists, to develop their artwork to a professionallevel for sale, exhibitions, collections andcommissions. If you’re a local Metro Indigenousartist you should come down for a yarn withJoanna Robertson, Lance Chadd, or any of thelocal artists already taking part there.Enjoy 2010 and I hope to see you out there– somewhere!TopJánis Nedéla and Louise Morrison with Geraldtonartist Gera Woljter at the Make Time to Talk Workshop“Pricing your artwork” held at ACDC, 4 December 2009.AboveJánis Nedéla with workshop participants28

Members’ NewsMembers’ NewsAbovePaul CapornThe Invisible Shed, Sculptureby the Sea Cottesloe 2010Paul won the AndreaStretton MemorialInvitation for Sculpture bythe Sea Cottesloe 2010.Photograph: Giles Roberts29

Members’ NewsSculpture by the Sea ARTISTSCLAIRE BAILEY, PIERE CAPPONI, JON DENARO,GEOFFREY DRAKE- BROCKMAN, KEVIN DRAPER,LOUISE ELSCOT, STUART GREEN, TONY JONES,DARIUS KOWAL, MELANIE MACLOU, DENISE PEPPER,HOLLY PEPPER, TIM MACFARLANE REID, JEAN-MARCRIVALLAND, KEN SEALEY, TANIA SPENCER. Sculpture bythe Sea, Until March 23EXHIBITIONSIAN DE SOUZA, Wilds of Western Australia, Wills DomainGallery, until 31 MarchLINDSAY HARRIS, Kaarlagup (Place of my home, my fire),emerge ART SPACE, until 1 AprilTIM BLAXELL, DENISE BROWN, AYLA DARE-COLLARD,CHRISTINE GODFREY, SUSANNE HAMLIN-SULLIVAN,LOUISE JOESBURY, DEAN MOYESE, New Works, NewFaces, Gallery East + Perth Galleries, until 1 AprilSARAH ELSON, Phloem Poetica, PICA, until 5 AprilCATHERINE CZERW, Stations Of The Cross 2010,Wesley Uniting Church, until 5 AprilKATHY ASPINALL, JUDY KOTAI, CARRIE MCDOWELL,the Darlings Range, Mundaring Arts Centre, until18 AprilPHILLIP GAMBLEN, Relay, Heathcote Museum +Gallery, until 18 AprilCIM SEARS, the Battery, Esplanade Hotel Fremantle,aspart of FotoFreo until 18 AprilPETER ZUVELA, Loss and Unrealised Dreams, GregJames Sculpture Studio Gallery, until 18 AprilCAROLE AYRES, In A Mind’s Eye XV, Kingfisher Gallery,until 25 AprilSUE CODEE, This Papercut Life, Vancouver Café +Gallery, 30 AprilALANA MCVEIGH, New Works, Emerge ART SPACE,7 MayCLAIRE STEELE, Disconnection, Emerge ART SPACE,7 MayBEN MITCHELL, Lost Soles, Gallery Central, until 29 MayHANS ARKEVELD, MADELEINE CLEAR, NIC COMPTON,MICHAEL KANE TAYLOR, JANE MARTIN, NALDASEARLES, JON TARRY, PAUL TRINIDAD, LINDA VAN DERMERWE, Cerebral Sanctum, Mundaring Arts Centre,until 23 MayBRENDAN VAN HEK, Can We Be Together?,Galerie Düsseldorf, until 23 MayRACHEL COAD (paintings), Perth Galleries, until 30 MayYOLANDE BENNETT, Out From Down Under & Beyond:Fine Art From Australia and New Zealand, Agora GalleryNY, until 1 JuneEVELYN KOTAI (paintings) Perth Galleries, until 27 JuneMARGARET BAKER, MELODY SMITH, MELANIE DISS,Poesis, Heathcote Museum + Gallery, until 5 JulyJUDITH FORREST (paintings) Perth Galleries,until 25 JulyMAUREEN WILSON, Signs & Symbols – Anigozanthusmanglessi, Moores Building, until 9 AugustSUSAN SHEPPARD, Down to Earth, Freight Gallery,until 5 AugustBEVAN HONEY, Solo Show, PICA, until 25 AugustDAWN GAMBLEN, MINAXI MAY, Plasticity, HeathcoteMuseum + Gallery, until 29 AugustAWARDSCITY OF WANNEROO ART AWARDS 2010Open Acquisitive Award: JUDY ROGERS, UntitledPainting: DAVID MAISANO, Hela and UmpaBest Wanneroo Resident: CHRISTOPHER YOUNG,five #01 (spectacle series)SANDY TIPPETT has won the FREEDOM ART PRIZE forContemporary Art for her work Night on the BeachLeftMelanie Diss,SwarmJEAN-MARC RIVALLAND was the winner of the NABSculptors Scholarship for SCULPTURE BY THE SEA,COTTESLOE 2010PAUL CAPORN was the winner of the AndreaStretton Memorial Invitation SCULPTURE BY THE SEACOTTESLOE 2010 and will be invited to exhibit at theBondi Sculpture by the sea later this yearGRANTSADAM DERUMS – Mid-Career Fellowship forproduction of a colour monograph to useas promotional material to generate furtherinterest in his workJILL KEMPSON – Mid-Career Fellowship to producea book of paintings. Renowned French art historianwill examine Jill’s work and its situation within theperspective of art and cultural historyELIZABETH DELFS – Secured funding for a soloexhibition at Freerange Gallery in March 2010LINDSAY HENRY HARRIS – Secured funding for a soloexhibition of individual contemporary Noongar worksinvolving the natural elements of hemp, ochre andresin at the Alcaston Gallery, Melbourne, recognisedas a leading Indigenous art gallery, in March 2010GEORGE EGERTON-WARBURTON, received fundingfrom Australia Council to develop a body of work anda performance piece for Next Wave Festival, 2010.RESIDENCIESNEIL ALDUM, REBECCA BAUMANN, ELISE/JÜRGEN,GEORGE WARBURTON, SHANNON LYONS, BENNETTMILLER – PICA residency as part of the RoundsProject until 5 AprilPETERIS CIEMITIS – Artist in Residence, Perth BluesClub Mardi Gras Charles HotelGEORGE EGERTON-WARBURTON – Artist in Residence,Fremantle Arts CentreRINA FRANZ – Artsource/Christoph MerianFoundation Residency, Basel, July–Jan 2011DAWN GAMBLEN + MINAXI MAY – Artists in residence,Fremantle Arts CentreJAMIE MACCHIUSI + GEMMA WESTON –PICA residency until 5 AprilKATI THAMO – Artsource Residency, Romania,Transylvania, Budapest, East Hungary, Poland;April-July 2010LAYLI RAHKSHA – Artist in Residence,Fremantle Arts CentreALISTAIR ROWE – Artist in Residence,Fremantle Arts Centre30

Members’ NewsTop leftSarah Elson,Tansy Flowers 2009-10Top rightClaire Steele,I’m free. Dance with me(detail)AboveJean-Marc Rivalland,Breaking wave.Sculpture by the Sea,Cottesloe 2010.Photograph: Clyde YeeAboveClare Davies,a miraculous memory(installation view)Photograph: Thomas RoweAboveStuart Green,untitled,Sculpture by the Sea,Cottesloe 2010.Photograph: Karen Castle31

Members’ NewsArtsource WelcomesThese New MembersPUBLIC ART – AWARDEDJAHNE REES recently installed an artwork at Craigie Heights Primary School as partof their Percent for Art SchemeJUREK WYBRANIEC and STEVEN NEIL, ARIF SATAR and AUDREY FERNANDES-SATARand PAM GAUNT recently installed artworks at the new Basketball Stadium andAthletics Stadium in FloreatLOUISE MORRISON and MATT DICKMANN were commissioned by Cape BouvardDevelopments to create an artwork for One Brighton Apartments, MandurahCASPAR FAIRHALL was awarded a Percent for Art Commission at the Darling RangeSports CollegeOLGA CIRONIS recently installed a series of artworks at Princess Margaret HospitalGEOFFREY OVERHEU and JUDITH DINHAM were shortlisted for commissions for theMidwest School of the Air with one more artist to be announcedNORMA MACDONALD, CHRIS NIXON, ARIF SATAR and AUDREY FERNANDES-SATARin collaboration with ROEBOURNE ART GROUP were all shortlisted for artworkcommissions at the Tambrey Early Learning and Care Centre, KarrathaMALCOLM HARRIS and MATTHEW HARDING were commissioned to developartwork in conjunction with Woods Bagot Architects for the KalamundaCommunity Cultural CentreMONIQUE TIPPETT and BEN JONES have been selected for 2 projects at theSouth West Health Campus, Bunbury. Monique is selected to fabricate a decorativetimber screen for the entry foyer and Ben to develop CAD designs for application asDigiglass panelsLORENNA GRANT has been selected to create a sculpture for the City of Canning’snew Civic Administration CentreOTHER NEWSMelbourne Art Fair 2010 4-8 AugustRepresented by Perth Galleries: ANGELA MCHARRIE, BRITT SALT, RACHEL COADand PENNY COSSRepresented by Turner Gallery: INDRA GEIDANS, PAUL CAPORN, TREVOR RICHARDSRepresented by Gallery East: NEIL ALDUM, MERRICK BELYEA, DRAGICA MILINOVICand ANNE NEILAboveLindsay HarrisBooy – Djinangin (Smoke seeing) (detail) 2009,Photography: Angela McHarrieOppositeBrendan van Hek,Great White HopeACCESSRhea BettoniDawn BarringtonZoe BarryTim BlaxellJodie BoltonMaire-Annick BurridgeRoslyn CadeeMelanie CalderGlen CapleAndre ChanErin CoatsTanya ColbySheridan ColemanLazo CujeticaninAyla Dare-CollardSarah DeamanSarah-Jane Della RosaJenna DowningSuzanne DooreyGeraldine FordDonovan FisherBarbara GloggnerPLUSTori BenzKingsley BurtonBronwyn ConstanceMelanie DissThomas FreemanLouise HowardMAXRebecca BaumannClaire BarrettLesley BarrettJames BerlynTina BryceKeith ChessonPeter CookBrendan DarbyHilda DixonCynthia EllisCLIENTSArt Gallery of Western AustraliaBunbury Regional ArtsManagement BoardJody GrayRuth HalbertMary HardyAmber HarrisMaria HildrickRachel HogermeerVera IngramCatherine JackRen JakovichDavid ManeaMelanie JohnRhett JonesFarid LayousEsther LaneTanya LeeJess LeeRobyn LiveseyBarbara MaddenShirley MartensJanet McNieMerlene PozziFiona RaffertyRose HoldawayBrian JamesAmelia JosephIngrid KellenbachLaura MartinazzoChris NixonAdrian EnglandJennifer EylesLaurie Fossier-MillsSue GirakKen HillAnnemarieke HorstenJ. Christopher KeenJessica KnightGuundie Kuchling-FesserMatthew McVeighDesign Feats Pty LtdThe Studio GalleryStephanie ReichJoanne RichardsonPenny RiddochNicholas SchaferDavid SimsLeslie SmithJoanna SulkowskiMoira TannerErin Tily-LaurieJeanette VernooijKerrie WakefieldSusie WallerSally WilsonPeter ZuvelaAlice Morlaus-JeffreyHeidi-Ann MulderNada MurphyTom PennySussi PorsborgTania PorterBetty PoulsenGayle RussellFiona TaylorDean MoyesMalini ParkerMichael RydingsKarl ScottLara SmithDrew TurnerAmber WardAnna Watts32

Artsource Discount DirectoryMembers’ NewsArtsource MembershipCategories + Benefitsartsource ACCESSSubscription to quarterly newsletter, access to resources, programs, studios andresidencies, as well as discounts on workshops, publications and art supplies.Suitable for artists, art workers, students, organisationsAnnual Membership Fees: Individual $60.00Art Student Concession $30.00Organisation $135.00artsource PLUSGiving you all the benefits of ACCESS plus real income earning opportunities anda continual profile on our online database.Suitable for professional visual artistsAnnual Membership Fee: $135.00artsource MAXA full package of benefits, adding $10m public liability insurance and freeworkshops to both the ACCESS + PLUS memberships.Suitable for professional visual artistsAnnual Membership & Insurance Fee: $260artsource ClientSubscription to quarterly newsletter, direct access to artists, consultancy servicesand invitations to events.Suitable for people wishing to connect with artists on a regular basis, inc. architects,public art coordinators, interior designers.Annual subscription fee: $150See www.artsource.net.au for a full listing of membership benefits.Artsource Members benefit from discounts at over 40 handy businesses, fromframers to photographers, art materials, freight and even cinemas. Just provideyour Artsource membership number.Find the full discount directory at www.artsource.net.au/memberservicesSpirals – 15% discountWeb design/graphic design/full colour printing0421 918 379/www.spirals.net.auDesign Feats Pty Ltd – reduced rates, free initial consultationSpecialise in electronic control systems, robotics and illumination/display projects,a brochure on illumination is available by emailing Oleh@designfeats.comU11/237 Stirling Hwy, Claremont WA 6010/0419 903 997/www.designfeats.comC-Tech Engineering – discounts negEngineering, fabrication, welding, galvanising, plasma and laser cutting,powder coating. info@ctechengineering.com.au14B Hines Rd, O’Connor WA/9331 6211/www.ctechengineering.com.auDonnybrook Living Stone – discounts neg.Handcarved Donnybrook sandstone and marble as well as heavy duty equipmentavailable for artists’ use.15 Hackett Rd, Donnybrook WA/0421 961 662/www.donnybrooklivingstone.com.auIf you would like to be included on the Artsource Discount Directory,contact Jennifer Chandler on 9226 2122 or email jennifer@artsource.net.auClassifiedsWRITER AVAILABLETo assist in securing funding, grants, residencies etc. Able to write promotionalmaterial and complete persuasive applications. Great success rate – fee negotiable.Contact: Lee Kinsella. b.lee.oli.lucas@internode.on.net; 08 9307 6097.LIFE MODELS REQUIREDArtsource holds a list of life models available for hire. If you have experienceand would like to be included on our database, please contact Marcfreo@artsource.net.au/9335 8366.PRINT COUNCIL OF AUSTRALIASeeking a voluntary representative in WA to work with the national committeeto deliver programs, IMPRINT magazine and IMPACT 2011 – the internationalmulti-disciplinary printmaking conference in Melbourne. You must be able toattend two meetings per year in any Australian city and expedite tasks arising topromote and develop contemporary printmaking and the collecting of prints.Info: Damian Kelly, General Manager: 03 9328 8991/adminpca@netspace.net.au/www.printcouncil.org.au33

CanvasstretChingserviCe• Choice of cotton canvas; Primed orunprimed, or professional artists linen.• Heavy Duty or Professional QualityHoop Pine Stretcher Bars.• Neat, flat folded corners.Bracing where required.• Optional – picture hangingdevices attached.• Stretching of pre-painted art works oncanvas and digital prints on canvas.Westgate Mall, off Point St/Cantonment St,Next to our Jacksons Fremantle Store.Open 9:30 to 4:30 Monday to Friday15% discount to Artsource MembersPhone Iain on 9335 7662

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