Tension[s] 2020 Tamworth Textile Triennial Catalogue

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Tension[s] 2020




Craft ACT: Craft + Design Centre

Craft ACT: Craft + Design Centre is supported by the

ACT Government, the Visual Arts and Craft Strategy –

an initiative of the Australian State and Territory

Governments, and the Australia Council for the Arts – the

Australian Government’s arts funding and advisory body.

Craft ACT: Craft + Design Centre

Tues–Fri 10am–5pm

Saturdays 12–4pm

Level 1, North Building, 180 London Circuit,

Canberra ACT Australia

+61 2 6262 9333


This exhibition has been developed by Tamworth Regional

Gallery and is supported by the Visions regional touring

program, an Australian Government program aiming to

improve access to cultural material for all Australians.

Tension[s] 2020

Tamworth Textile


Soraya Abidin | Gillian Bencke | Julie Briggs and Kelly Leonard | Armando Chant | Georgia

Chapman | Linda Erceg | Anne Ferran | Dianne Firth | Sai-Wai Foo | Tina Fox | Erica Gray | Elisa

Markes-Young | Julie Montgarrett | Deborah Prior | Margarita Sampson | Mark Smith and Dell

Stewart | Jane Théau | Tjanpi Desert Weavers | Yinarr Maramali

Craft ACT: Craft + Design Centre

24 March - 14 May 2022




Tamworth Textile Triennial

Performance, Interaction and Material Futures

Exhibition statement

20/20 Vision is the standard notation

used to indicate perfect vision. It bases

its declaration of ‘perfect’ on only one

thing: sharpness of vision when standing

approximately six metres from an eye

chart. Meanwhile, other worthwhile

attributes are ignored – such as peripheral

awareness, eye coordination, depth

perception, focusing ability and colour


The saying ‘hindsight is 20/20’ suggests

that the distance afforded by time enables

us to better understand the past and

that, by extension, hindsight might assist

us to make better decisions about our

future. But does this reflection take into

consideration the diversity of perspectives

required to really learn from the past?

If there is one thing that hindsight has

taught us, it is the danger of drawing

meaning from only one perspective.

future of people and place through textile

as a material and human experience

as materiality. By exploring other

perspectives through the metaphor of

tension, we ask:

How could textiles consider people and

place in developing new installation ideas?

How might textiles collaborate with

other interactive mediums to offer new


How can we articulate complex narratives

through engaging textiles in performance?

I hope that, through Tension[s] 2020,

the materiality of our combined working

practices and perspectives can be realised

beyond the scope of a rather parochial,

one-dimensional, 20/20 view.

- Curator Vic McEwan.

Tension[s] 2020 acknowledges that

the world has long been a place under

various tension[s], both harmonious

and dissonant. In order to bear witness

to, contribute to and respond to these

tensions, the triennial will focus on the

Image: Tension[s] 2020 - Tamworth Textiles

Triennial. Photo: Courtesy of the Tamworth

Regional Gallery




Soraya Abidin


Soraya Abidin is a Sydney Textiles based

artist, whose works aim to materialise the

in-between spaces within the bi-cultural

binary. Resonating with the tensions

that exist in this realm, Soraya uses

vintage Asian silks to address cultural

misconceptions often experienced by

bi-cultural people. At the same time, for

Soraya, this is a space where there are no

rules to be broken and cultural boundaries

can be traversed. Identifying as bi-cultural

herself, Abidin’s works are inspired by her

experience of being in-between both her

English and Malay heritages.

The work, Guardians of Wellbeing,

was created from a mix of Asian silks,

peranakan glass beads, vintage hemp,

raffia and Swiss straw. This two-faced bird

is described by the artist as a shamanic

headdress worn by a Bomoh, or Malay

spiritual healer.

Image: Guardians of Wellbeing, 2020, Soraya

Abidin, mixed Asian silks, peranakan glass

beads, vintage hemp, raffia and Swiss straw.

Photo: Courtesy of the artist


Gillian Bencke


Gillian Bencke is an artist based in

Newcastle, NSW.

She works in photography, sculpture,

installation and fibre.

Gillian has a degree in Communication

Studies at the University of Newcastle

and also studied Photomedia at the

Manchester Metropolitan University, UK.

Her early practice was in photo media and

included a small run of self published

artist books. She later went on to study

digital media at TAFE in Newcastle

and produced work in digitally drawn


In 2004 while living and working in Paris,

Gillian began to use found fabrics to

create small sculpture works and has been

exploring form in this medium ever since.

Image: Gillian Bencke, A Case, 2020. Photo:

Courtesy of the artist.


Julie Briggs & Kelly Leonard


Julie Briggs is known for working in poetry

and art of many forms. Her work has been

seen across the nation, with a recent work

being displayed as a part of the Sunflower

Collection Exhibition in Kandos. Now

her latest work, Curation of Shadows, a

collaboration with Kelly Leonard is proudly

being displayed at Craft ACT.

Kelly Leonard is an artist based in Broken

Hill, NSW. As a teenager, Kelly was taught

weaving by a second-generation Bauhaus

weaver, Marcella Hempel, in Wagga

Wagga, NSW.

considerations in how she makes work

and how work is shown to an audience.

Kelly views weaving as an open-ended

world making practice though which new

patterns can emerge.

Kelly walks on Wilyakali Country, part of

the Barkindji Nation. She acknowledges

that sovereignty was never ceded, what

always was, always will be Aboriginal land.

Since reactivating her practice in 2017,

Kelly has been making work responding

to the sight, sound, smell and feel of the

environment, where she places woven

artworks in conversation with Place, to

activate new meanings and relationships.

Her work is always informed from her

perspective as a regional/remote artist.

Kelly believes that struggles for social

justice and environmentalism cannot

be separated from each other and are

inextricably woven together. Themes such

as trust, the importance of relationships,

different evaluations of time, risk

taking,and the ethics of care are important

Image: Julie Briggs & Kelly Leonard, Curation of

Shadows, 2020. Photo: Courtesy of the artist


Armando Chant


As an artist, my focus is on creating work

that sits in-between image and surface,

facilitating a sense of visual, material and

experiential transformation. Through an

expanded approach to the physical and

gestural act of drawing the work explores

the oscillation in-between embodiment

and disembodiment where the interrelationships

between the drawn gesture,

image and surface cross through and

between sites of process.

The inter-relationship between creative

act and visual residue is investigated

by working within an inter-disciplinary

and open context, including drawing,

photography, and textile techniques

to evoke and materialise an sense of

atmospheric presence.

the image/artefact is seen not as a final

outcome but part of a visual and material

landscape that is in a constant state of

emergence and dissolution, evolving in

response to the physical act of drawing,

and the ethereal trace left behind

I have participated in exhibitions that

reflect this expansive and explorative

approach, held in London, Florence,

Melbourne and Sydney.

As an academic, I’ve worked as a lecturer

across degree and Masters programs at

leading universities in London, Sri Lanka

and Australia.

The practice thereby opens up a dialogue

for the visual image to be re-framed or

re-presented within an ephemeral and

transient context across site, surface

and screen, be it image, artefact or space

and contribute to alternative ways of

experiencing, and seeing, both image and

surface where one does not take priority

over the other but become a hybrid form

of experience. Through this exploration

Image: Armando Chant, Topographical

Reflections Day (detail), 2020. Photo: Courtesy

of Craft ACT


Georgia Chapman


Georgia Chapman’s Vixen label was much

loved for more than twenty years. Now

after a break to be with her young family,

Georgia is bringing back her signature

prints in selected products. It is the start

of the Georgia Chapman label: the same

design aesthetic, the same emphasis on

quality, with more one-of-a-kind pieces

and limited edition collections.

Georgia has exhibited her work widely, and

her designs feature in the National Gallery

of Victoria and the Powerhouse Museum


Georgia’s style is to reinvent traditional

motifs and patterns and combine prints

in unexpected ways. She creates pieces

with timeless simplicity, function and

beauty. Her passion is for design, colour,

craftsmanship and the handmade.

Vixen Australia began in 1992, a fashion

and homewares label that used all original

fabrics. Printed crepe de chine, georgette,

velvet devoré and a full range of silks in

rich colours and textures quickly became

Georgia’s trademark.

For twenty years, Vixen was sold through

retail outlets across Australia, Asia, and

London. The Vixen flagship store in Fitzroy

opened in 2007.

Image: Georgia Chapman, My place, 2020.

Photo: Courtesy of the artist


Linda Erceg


Dr Linda Erceg is a multidisciplinary artist

and lecturer at the School of Creative

Arts and Media at University of Tasmania

in Hobart. Her creative practice spans a

range of mediums, including photography,

video, and installation.

In recent works, Linda creates sculptural

objects and large-scale installations that

explore the connection between stitched

artefacts, living systems and patterning.

Using a range of recycled and repurposed

plastics, her work is a timely exploration

of the impact of anthropogenic change

and the imagining of future ecologies. Her

artwork has been exhibited nationally and

internationally with support from Australia

Council, Arts Victoria and Arts Tasmania.

Image: Linda Erceg, Biomorph, 2020, mixed

plastics. Photo: Courtesy of the artist.


Anne Ferran


Anne Ferran is an artist whose work

questions representations of femininity

and history, particularly the legacy of

colonial histories. Her feminist and

philosophical approach to photography

in the 1980s and 1990s reframed

the medium as not only a means of

documentation but a form of cultural

mediation, with its own history and

blind spots. She has worked in analog

and digital photography, installation,

video, photobooks, and performance to

address absences and erasures at sites

of historical significance in New South

Wales, Tasmania, and Western Australia.

Ferran received a Bachelor of Arts from

Sydney University, attended Mitchell

College of Advanced Education (now

Charles Sturt University), and received

a Bachelor of Visual Arts degree from

Sydney College of the Arts in 1985 and a

postgraduate diploma in 1987. In 1994 she

completed an MFA at the College of Fine

Arts, University of New South Wales. She

is an honorary fellow at the University of


Image: Anne Ferran, Field Haunter from Birdlike

Series, 2020. Photo: Courtesy of the artist


Dianne Firth


Although educated as a landscape

architect Dianne had early training with

textiles at Newcastle Technical College

and Glasgow Art School and was involved

with textiles for fashion, theatre costume

and interiors. She discovered quilting after

seeing a collection of Amish quilts at the

National Gallery of Victoria in the early

1980s and undertaking a masterclass with

American art quilter Nancy Crow.

Her works have been selected for

major juried international and national

exhibitions, publications and for public and

private collections. Since 2001 she has

been one of six artists in the Canberrabased

tACTile group with the objective of

expanding the boundaries of the art quilt

and mounting exhibitions to travel.

Firth is Adjunct Associate Professor in

the Faculty of Arts and Design at the

University of Canberra. She holds a

Bachelor of Landscape Architecture, a

PhD, is a Fellow of the Australian Institute

of Landscape Architects and advises

the ACT Government on issues related

to landscape heritage, trees, and urban


Image: Blown by the wind, Dianne Firth, 2020.

Photo: Courtesy of the artist.


Sai-Wai Foo


Sai-Wai Foo is an emerging artist and

graduate of RMIT, Melbourne. Her practice

focuses on the manipulation and folding

of cut paper to produce sculptural volume

and structure from a 2-dimensional

medium.Her works combine organic paper

with other pieces of collected ephemera to

create vignettes and still points in time.

Exploring the use and repurposing of

discarded unwanted items, Foo aims to

seek out a new aesthetic. The materials

used are discarded but once treasured

items that have outlived their usefulness

or owners. She subverts their use through

repurposing and with the additional of

the artisanal, to imbue an item with a new

value. It is a way to question how things

are used in our over-curated and insatiable

consumer society.

These interwoven elements marry the

past and present create an object that

transports the viewer into another realm;

an intersection of the nostalgic and the


Image: Sai-Wai Foo, Children of the Sun, 2020.

Photo: Courtesy of the artist


Tina Fox


Tina Fox trained as an architect at

The Bartlett School and University of

Westminster in London and went on to

complete an MA Art in Architecture at the

University of East London.

After working for over 10 years in

architecture and interior design, Fox

moved to Sydney in 2011 and expanded

her private practice into visual and public


Her current work explores hand crafted

techniques to reflect on digital printing and

manufacturing and the future of craft in

the modern age.

She has exhibited large public textile

sculptures in Sydney for Vivid, The North

Sydney Art Prize, Harbour Sculpture,

Sawmillers Sculpture Prize and The

Sydney Architecture Festival and is

currently one of the resident artists at the

TWT Creative Precinct in St Leonards.

Image: Tina Fox, Crochet Machine, 2020. Photo:

Courtesy of artist


Erica Gray


Erica’s lif.e.quatic series is inspired by

the natural aquatic environment and

the creatures within. Her interpretation

of the complexity of structures, vivid

colours and intricate patterning observed

in a variety of marine creatures as well

as a reference to man’s influence over

the environment. This meshing of

aquatic and terrestrial influences forms

a symbolic representation of how coral

and its surrounding ecosystems, once

autonomous, must now cling to us in

the hopes of maintaining their continued


as well as North Qld’s sculpture Festival -

The Strand Ephemera in 2011, 2013, 2015,

2019 and was joint winner of the Artistic

Award of Excellence in 2011 and the 1st

prize winner of the Award for Artistic

Excellence in 2017.

Erica’s work has been a finalist in

numerous painting and sculpture prizes,

among them she was a semi-finalist in

the Doug Moran National Portrait Prize in

both 2019 and 2013, she was a finalist in

the 2015 Hurford Hardwood Portrait Prize

as well as the Glencore Perceval Portrait

Prize in 2012, 2016, 2018 and 2020. With

her sculptural work she has been a finalist

in the Tamworth Textile Triennial in 2014

and 2020, a finalist in the Gold Coast Swell

Sculpture Festival 2010, 2011, 2014, 2016

Image: Erica Gray, Immortal coil, 2020. Photo:

Courtesy of the artist


Elisa Markes-Young


Elisa Markes-Young was born on New

Year’s Eve 1964 in Gorlice, Poland. In 1981,

she moved to Germany with her family,

then Western Australia in early 2002.

With her cross-cultural biography, Elisa’s

identity is punctuated by the question of

how Polish or German she really is. It is

also very much defined by the feeling of

being caught between two worlds.

The excitement of living in a foreign

country is accompanied by an intense

feeling of displacement. Being a stranger

and ‘different’, having to master another

language and the mentality of a new place

creates a feeling of insignificance and

inadequacy. Trying to navigate between

the Polish origins, German influences and

Australian surroundings, Elisa recognizes

that self-reflection is crucial to her identity:

It is a reflection on the variations of her

‘handed-down’ identity.

Image: Hugs and Kisses, Elisa Markes-Young,

2020. Photo: Courtesy of the artist


Julie Montgarrett


Julie Montgarrett is a textile artist,

curator and former lecturer whose

practice includes over 100 solo and group

exhibitions, site specific installations,

public art commissions and ground

breaking community-based arts projects

in Australia and internationally. Her works

are represented in major Art Gallery and

Museum collections in Australia and

internationally. Her main interests are

in the areas of drawing and embroidery

to extend the conceptual and spatial

possibilities of textile as narrative

questioning dominant Australian histories;

to explore doubt and fragility via visual

narratives in complex installations.

Image: Julie Montgarrett, Grim Harvest

Plundered Wealth and Squandered Plenty, 2020.

Photo Museum and Galleries of New South



Deborah Prior


Deborah Prior’s art practice navigates the

complexities and pleasures of having and

being a body, via craft practices including

knitting, stitching and embroidery

Using salvaged, stained, and damaged

material(s) from the domestic sphere, she

crafts soft sculptures, installations, and

performances that explore ideas of bodily

agency, disgust & desire, and the personal

and social histories of domestic work.

Most recently, Prior has been investigating

the shared visual language of body

fragments in medical illustration/

modelling and religious iconography,

positioning her textile pieces as profane

relics to invite conversation around the

contested knowledges, histories, and

mythologies of female corporeality.

Based in Adelaide, Prior has been crafting

strange anatomies for thirteen years.

She completed her PhD in Visual Arts

at the University of South Australia in

2014. In 2016 she spent several months

on residency in Italy as the recipient of

the Helpmann Academy British School in

Rome Residency, which continues to be a

rich vein of inspiration for her practice.

Image: Deborah Prior, 2020, Easter in the

Anthropocene. Photo: Courtesy of the artist


Margarita Sampson


Margarita Sampson works predominantly

in soft sculpture & contemporary jewellery.

Her work is strongly influenced by her

Norfolk Island background, referencing

natural forms, patterns & textures, in

particular underwater lifeforms.

“I’m interested in the idea of colonisation,

growth, opportunistic expansion, the

organic versus the inorganic, taking over

spaces and recontextualising them. I

don’t like to be too specific with the forms

in my work, I like them to be suggestive

enough of any number of possibilities

so that the viewer brings their own story

and imagination to the party.... then the

work starts to resonate, through that

conversation. If a work answers, its own

questions it’s dead.”

Image: Margaret Sampson, Olympia, 2020.

Photo: Courtesy of the artist


Mark Smith and Dell Stewart


Working across painting, ceramics, mixed

media, video and soft sculpture, Mark

Smith’s primarily figurative works are

concerned with how the physicality of

the body relates to human nature and the

human condition. Smith considers the

body a nonnegotiable starting point for

existence, using the primitive vessel to

explore the truly distinctive characteristics

of being human. Within this framework

Smith addresses the experiences and

complexities of the individual and of

humanity as a whole, as well as examining

the ‘language’ of a subtle movement or

position. Working purely from feeling or

emotion rather than a model or image,

Smith’s works possess an intrinsic nature

or indispensable quality that imbues them

with a deep sense of character.

Dell Stewart’s work combines various

processes often regarded as belonging

to the world of craft (ceramics, textiles,

animation) with a deeply embedded

personal history. These practices and

references assemble in immersive

environments, often offering no clue

to the boundary between the artwork

and the space it occupies. A personal,

subjective symbology pervades the work

making each iteration another chapter in a

narrative of a life lived doing.

Mark and Dell came together in artistic

collaboration to create an artwork

especially for the Tamworth Textile

Triennial Tension[s] 2020. The resulting

Love mobile was created in the spirit

of learning and working together, and

celebrating the complications and

tensions implicit in any relationship. Love

mobile uses soft hand-stitched forms,

oversized stuffed letters and sculptural

fabric elements linked through a complex

web of handmade ropes to represent

connections, networks and relationships

The work takes the form of an oversized

mobile; continually moving and changing,

it embodies the role of chance in

encounters, understandings and the

formation of connections between people.

Image: Love Mobile, 2020, Mark Smith and

Dell Stewart, ice-dyed cotton, polyester fill and

trims, cotton rope, dimensions variable. Photo:

Courtesy of Tamworth Regional Gallery


Jane Théau


Jane Théau develops sculptural

installations, such as her on-going series

of large-scale embroidered Threadworks.

Jane said, ‘Given my conceptual concern

with sustainability, I enjoy the fact that

these textile works use very little material,

and weigh but a few grams, even as

room-sized installations… I particularly

appreciate the metaphorical qualities

of textiles: the ravelling and unravelling,

the weaving and fraying, the mending

and rending.’ Jane has a Master of Art

(Sculpture) from the College of Fine Arts

(COFA), University of NSW, a Master

of International Affairs from Columbia

University and a Bachelor of Applied

Science from the University of Technology

Sydney. She has actively exhibited in solo

and group exhibitions since 2009, was a

finalist in the 2011 Powerhouse Museum

International Lace Award, and curated

2015’s Y Fibre, an exhibition of male textile

art at the Ewart Gallery in Sydney.

Image: Jane Théau, Anca (detail), 2020. Photo:

Courtesy of the artist


Tjanpi Desert Weavers | Dianne Ungukalpi Golding,

Judith Yinyika Chambers, Joyce James, Charlotte



Tjanpi Desert Weavers is a social

enterprise of the Ngaanyatjarra

Pitjantjatjara Yankunytjatjara (NPY)

Women’s Council, working with women

in the remote Central and Western

desert regions who earn an income from

contemporary fibre art. Tjanpi (meaning

grass in Pitjantjatjara language) represents

over 400 Anangu/Yarnangu women artists

from 26 remote communities on the NPY


Tjanpi artists use native grasses to make

spectacular contemporary fibre art,

weaving beautiful baskets and sculptures

and displaying endless creativity and

inventiveness. Originally developing from

the traditional practice of making manguri

rings, working with fibre in this way has

become a fundamental part of Central and

Western desert culture.

desert weaving phenomenon and have

fuelled Tjanpi’s rich history of collaborative


Tjanpi has a public gallery in Alice

Springs showcasing baskets, sculptures,

jewellery, books, merchandise and more,

while Tjanpi artworks are also found

at stockists around the country. Tjanpi

regularly exhibits work in national galleries

and facilitates commissions for public


Tjanpi embodies the energies and rhythms

of Country, culture and community. The

shared stories, skills and experiences

of this wide-reaching network of

mothers, daughters, aunties, sisters and

grandmothers form the bloodline of the

Image: L-R: Joyce James, Charlotte Golding,

Dianne Golding with Pitja Nyawa Kulila Pampula

in Warakurna, WA. Photo: Courtesy of the artists


Yinarr Maramali Gomeroi Community


Yinarr Maramali (YML) is a Gomeroi

women’s business based on Country

(Tamworth, NSW), who support the

wellbeing of their Community and

Country through the continuation of

their ancestral weaving culture. Bringing

together generations of yinarrgal (women)

and miyaygal (girls), who connect and

share their stories through hand-woven

creations and artworks. Using only natural

materials collected by hand from Country

and ethically sourced materials that are

gentle on the environment.

Yinarr Maramali is 100 percent owned and

operated by local Gomeroi Yinarr. Every

weaving purchase supports the YML

Weavers and their cultural community


Image: Yinarr Maramali, Weaving Warrabah,

2019. Lomandra, water vine. Photo: Miranda



List of works

1-10 Sai-Wai Foo

Children of the Sun, 2020

All works on half scale



5 Sai-Wai Foo

Tang Suit, 2020

Metallic brocade, trim,

tassel, metal chain, resin

bead, satin, elastic, cotton

webbing, lead weight,


1 Sai-Wai Foo

Dragon Lady, 2020

Brocade, metallic, frog buttons,

metallic fabric, thread

6 Sai-Wai Foo

Blosson Woman, 2020

Metallic brocade, frog

buttons, glass beads,

vintage trims, gold work,

tassels, paint, metal studs,

lead weight, thread

2 Sai-Wai Foo

Suzy Wong, 2020

Lurex knit, metallic fabric, cotton

webbing, thread, (A nod to

Modern Cheongsam or Qi Pao

in the 1960 film World of Suzie


3 Sai-Wai Foo

Crazy Rich Asian, 2020

Gold fabric, vinyl, chain, satin,

snap buttons, heavy card,

adhesive, woven trim, tassel


7 Sai-Wai Foo

Dowager, 2020

Brocade, metallic, frog

buttons, metallic fabric,

sandalwood fan, metal

chain, lead weight, thread

8 Sai-Wai Foo

Ideal Student, 2020

Cotton fabric, metallic

fabric, cotton webbing,

tassels, wadding, snap

button, plastic beads,


4 Sai-Wai Foo

Old Guard, 2020

Gold fabric, metal buckle, thread

9 Sai-Wai Foo

Tiger Mother, 2020

Organza, metallic, trim,

gold work, embroidery,

applique, metal thread,

elastic, thread


10 Sai-Wai Foo

Qing Style Dress, 2020

Brocade, metallic, frog buttons,

metallic fabric, thread

11 Yinarr Maramali Gomeroi


Weaving Warrabah (Short Neck

Turtle), 2019

Lomandra and Water vine


15 Armando Chant

Topographic Reflections Day

(white), 2020

Screen printed silk, digital

printed silk and wool, silk

hand embroidery, needle



16 Margarita Sampson,

Olympia, 2020

Video tape, textiles, wood,



12 Mark Smith with Dell

Stewart | Arts Projects Australia

& Australian Tapestry Workshop

Love mobile, 2020

Ice-dyed cotton, polyester fill and

trims, cotton rope, eucalyptus



17 Elisa Markes-Young

Comforter #02, 2020

Tulle, Chiffon, organza, wool,

paper, gold foil, sequins, bead

and thread

$3000 (#18-20)

13 Armando Chant

Topographic Reflections film,


Aerial film x 2 Night runs 9: 43

min & Day runs 11:33 mins


18 Elisa Markes-Young

Hugs and Kisses, 2020

Faux fur, calico, wool, silk,

sequins, beads, cotton and

polyester thread

14 Armando Chant

Topographic Reflections Day

(black), 2020

Screen printed silk, digital

printed silk and wool, silk hand

embroidery, needle felting


19 Elisa Markes-Young

The Original Place #09/5, 2018

Fabric, paper, hand

embroidery, sequins, beads,

faux fur, gold foil and thread


List of works

20 Elisa Markes-Young,

Memory of a Memory edition 2/5,


Hand finished artist book

25 Julie Briggs & Kelly


Curation of Shadows, 2020

Linen, burnt remnants and video


21 Georgia Chapman

My place, 2020

Acrylic paint and foil hand

painted details, Digital

sublimation print on canvas


22 Julie Montgarrett

Grim Harvest: plundered wealth

and squandered plenty, 2020

Screenprinted silk organza,

fabric remnants, found blankets,

lace Kantha stitched, small

cushions and ceramic bowls


23 Erica Gray

Immortal coil, 2020

Cotton, polyester, pearl beads

& 3D printed bones, plastic on



26 Tjanpi Desert Weavers

| Dianne Ungukalpi Golding,

Judith Yinyika Chambers, Joyce

James, Charlotte Golding

Pitja Nyawa Kulila Pampula (Come

Look Listen Touch), 2020, Tjanpi

(grass), raffia, hemp yarn, steel

and wire


27 Tina Fox

Crochet Machine, 2020

Aluminium, linen, thread,

recycled polyester, LCD monitor,

wood, rubber foam


28 Jane Théau

Anca, 2020



24 Anne Ferran

Plains Wanderer from Bird- like

Series, 2020

Pigment print on canvas.

Performer Kirsten Packham


29 Jane Théau

Anca (bojande), 2020

Tarlatan, silk organza, thread

and wire



30 Jane Théau

Anca (vridande), 2020

Tarlatan, silk organza, thread

and wire


35 Linda Erceg

Biomorph, 2020

Mixed plastics


31 Jane Théau

Anca (I flykt), 2020

Tarlatan, silk organza, thread and

wire and projector


36 Dianne Firth

Blown by the Wind #4, 2020

Netting, material stitching


32 Soraya Abidin

Guardians of Wellbeing, 2020

Mixed Asian silks, Peranakan

glass beads, vintage hemp, raffia

and Swiss straw


33 Deborah Prior

Easter in the Anthropocene

(squatter blanket #1), 2020

Archive of plant labels, found

woollen blankets (Onkaparinga

and Laconia brand) yarn and



34 Gillian Bencke

A case, 2020

Linen, wool, cotton, nylon, felt,

silk, sequins, beads, pins, copper,

brass, bronze polymer clay and




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