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ISLAND WELCOME<br />
8 September - 21 October 2023<br />
Jane Bowden | Melissa Cameron | Laura Deakin | Bin Dixon-Ward | Sarah<br />
Elson | Kath Inglis | Pennie Jagiello | Inari Kiuru | Kelly McDonald | Alice<br />
Whish | Sharyn Egan | Belinda Newick (Curator)<br />
N'ZASSA: MAKING THINGS WORK<br />
Peter T. McCarthy<br />
<strong>Island</strong> <strong>Welcome</strong><br />
Jane Bowden | Melissa Cameron |<br />
Laura Deakin | Bin Dixon-Ward |<br />
Sarah Elson | Sharyn Egan | Kath<br />
Inglis | Pennie Jagiello | Inari<br />
Kiuru | Kelly McDonald | Alice<br />
Whish | Belinda Newick (Curator)<br />
<strong>Island</strong> <strong>Welcome</strong> is a nationally touring<br />
group exhibition exploring the use of<br />
contemporary jewellery as a gesture of<br />
welcome. Curated by Belinda Newick,<br />
the exhibition seeks to bring attention to<br />
asylum seeker issues and to extend the<br />
dialogue beyond art and craft audiences<br />
via expressions of Australian values<br />
through craft practice.<br />
With reference to welcome garlands<br />
gifted in many traditional islander<br />
cultures, each artist has made a<br />
neckpiece, lei, or garland interpreting<br />
the theme of welcome whilst considering<br />
current Australian immigration policies.<br />
The artists use the narrative and<br />
material potential of each distinct<br />
garland to encapsulate a complex visual<br />
language and to express the emotions<br />
felt by the maker during the process.<br />
1.<br />
2.<br />
3.<br />
4.<br />
5.<br />
6.<br />
Kath Inglis | A Lei from the<br />
<strong>Welcome</strong> Mat, 2017<br />
used thongs, silk thread sterling<br />
silver, patina<br />
NFS<br />
Sharyn Egan | Kaya, 2022<br />
Queen Palm Inflorescence, ininti<br />
seeds, cotton thread<br />
500 x 700 x 100mm<br />
$650<br />
Kelly McDonald | Life Circles,<br />
2023<br />
steel wire, solder, anthracite coal<br />
1020 x 600 x 50mm<br />
$850<br />
Bin Dixon-Ward | <strong>Welcome</strong><br />
Home, 2022<br />
nylon, dye<br />
450 x 700 x 70mm<br />
$850<br />
Jane Bowden | Leftovers, 2017<br />
oxidised sterling silver<br />
6700mm<br />
$5755<br />
Sarah Elson | Resilient<br />
Resistance, 2022<br />
reclaimed jewellery (silver,<br />
copper and solder), patina<br />
330 x 30 x 13mm<br />
$2500<br />
8.<br />
9.<br />
10.<br />
11.<br />
Alice Whish |<br />
Crossing the Shoreline, 2018<br />
porcelain, silk thread<br />
6600 x 300 x 80mm<br />
$1800<br />
Melissa Cameron | Already<br />
Taken, 2022<br />
Rabbit Proof Fence wire, Irish<br />
waxed linen thread<br />
610 x 370 x 5mm<br />
$2000<br />
Laura Deakin | Mygration #15,<br />
2022<br />
hand drilled acrylic, water colour,<br />
sterling silver<br />
510 x 980 x 70mm<br />
$2500<br />
Pennie Jagiello | <strong>Welcome</strong><br />
warning promise of the beauty<br />
and the beast, 2019<br />
Found discarded materials<br />
consisting of various plastic,<br />
rubber, and metal, collected along<br />
Victorian, New South Wales and<br />
the Pilbara Western Australian<br />
coastlines and immediate<br />
surrounds<br />
200 x 200 x 10mm<br />
$4620<br />
7.<br />
Inari Kiuru | Kotimaa/Homeland<br />
(a garland for a child), 2022<br />
paper clay, pigments, mild steel<br />
240 x 240 x 55mm<br />
NFS
<strong>N'Zassa</strong>: <strong>Making</strong><br />
<strong>Things</strong> <strong>Work</strong>s<br />
1.<br />
Peter T. McCarthy | Anthem For<br />
A New World Order, 2022<br />
synthetic fibres, zippers<br />
3070 x 5030mm<br />
$15000<br />
10.<br />
Peter T. McCarthy | Trônus, 2023<br />
handwoven nylon zippers over<br />
PH6 foam,<br />
320 x 320 x 320mm<br />
$250 each<br />
Peter T. McCarthy<br />
Peter McCarthy seeks to inspire positive<br />
social transformation by subverting<br />
familiar traditional forms related to<br />
identify, power and prestige re-imaging<br />
them through his own personal material<br />
symbolism.<br />
Using zippers as a metaphor for humility.<br />
Normally zippers are functional elements<br />
of clothing. They are ironically brightly<br />
coloured, usually, in order to discretely<br />
do their job almost invisibly.<br />
N’zassa, like all patchwork traditions, is<br />
borne of necessity, seeking to make the<br />
best of what is available. Each piece<br />
brings what is has to the overall<br />
composition. Each piece is important.<br />
The flags in the Anthems series reference<br />
emblematic traditional textile structures<br />
and motifs from various ethnic groups.<br />
Peter wants each viewer to feel a strange<br />
familiarity looking at his work, whilst<br />
simultaneously looking at something<br />
entirely new.<br />
2.<br />
3.<br />
4.<br />
5.<br />
6.<br />
Peter T. McCarthy | Flag 01,<br />
2023<br />
synthetic fibres, zippers<br />
900 x 1330mm<br />
$1200<br />
Peter T. McCarthy | Royal Blue,<br />
2022<br />
synthetic fibers, zippers<br />
650 x 620mm<br />
$400<br />
Peter T. McCarthy, The Song We<br />
Could Sing if We<br />
Really Wanted, 2023<br />
synthetic fibres, zippers<br />
1770 x 3140mm<br />
$5500<br />
Peter T. McCarthy + Eddy<br />
Dagher | Royal Kita with Red<br />
Stripes, 2021<br />
fine art print,<br />
420 x 594mm<br />
$280<br />
Peter T. McCarthy + Eddy<br />
Dagher | Trônus: Seat,<br />
2023<br />
fine art print,<br />
420 x 594mm<br />
$280<br />
7.<br />
Peter T. McCarthy + Eddy<br />
Dagher | Couronne, 2023<br />
Fine art print,<br />
420 x 594mm<br />
$280<br />
8.<br />
Peter T. McCarthy | Princesse<br />
Yennenga, 2022<br />
synthetic fibers, zippers<br />
940 x 770mm<br />
$720<br />
9.<br />
Peter T. McCarthy | Where We<br />
Start is Where We Meet,<br />
2023<br />
synthetic fibres, zippers<br />
950 x 930mm<br />
$900
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