Exploration of the compelling and enduring role of drawing as a key component of contemporary arts practice
Curator: Melanie Fulton
Nicholas Elliott, Suzy Fagan, John Foubister, Melanie Fulton, Mawarini, Kathleen Munn, Stephanie Radok, Nina Rupena, Laura Wills, Patricia Wozniak
Images (Clockwise, T-B): Kathleen Munn, A Simple Aesthetic 1 (detail), 2018, charcoal, pastel, paper; Melaine Fulton, Botanical Studies Series (detail), 2018, graphite on paper; Laura Wills, Club Landscape, 2018, pastel on map of South Australia; Stephanie Radok, A pigeon, 2018, artists book, graphite, ink on paper.
Exhibition launch: Sunday 5 August 2018
Opening speaker: Stephanie Radok
Exhibition concludes 22 September
About the exhibition:
This exhibition explores the enduring and compelling nature of drawing through the work of ten contemporary and intergenerational artists with diverse creative practices. They consider the way drawing continues to operate as a key component in arts practice, whether as exploratory and investigative, or as expressive and gestural, or as an arena of practice in its own right, with strong links to past traditions.
The immediacy and accessibility of drawing make it a viable activity under most circumstances. Artists can employ it as a means to maintain their practices, develop ideas and prepare for new bodies of work. Or to simply record and document what is around and engaging in the world.
The conjuring aspect of drawing, often the initial tangible form in which ideas or visions are realised, is relevant and vibrant in current art practices, and is reflected in the artist’s work. They consider drawing as an underpinning and sustainable element in their working processes.
Drawing as memento is a common theme in this exhibition. Each artist attempts to record and maintain a vision of what intrigues them.
Because a drawing is usually the first manifestation of an artist’s creative impulse, it retains a vibrancy and authenticity.
Melanie Fulton August 2018
This exhibition was presented in conjunction with SALA Festival 2018
Some identity: who are you?
An exploration of identity by Scott Rathman
Image: Scott Rathman, Hale, 2018, acrylic on canvas, 51 x 76cm
Exhibition launch: Sunday 3 June 2018
Opening speaker: Samantha Yates, Cultural Programming Manager, Aboriginal and Reconciliation Programs, Country Arts SA
Exhibition concluded 14 July
About the exhibition:
Scott Rathman questioned his identity in preparation for this exhibition. He explored his perception of how others see him. He explored the influences that have shaped his life and contributed to his cultural identity.
It was a confronting exercise that dug deep into the decisions that shaped his life.
Scott is an Aboriginal artist, who was born in Loxton in South Australia. His origins go back to the Arltunga region, his grandmother’s country in the East MacDonnell Ranges and the Arrernte People of Central Australia.
This exhibition and related events were presented as part of National Reconciliation Week and NAIDOC Week.
The Doll Redefined
Evocative and playful figurative forms
Curator: Annabelle Collett
Artists: Angela Bannon, Caitlin Bowe, Catherine Buddle, Gary Campbell, Olga Cironis Deb Drake, Karina Eames, Tash Evele, Melissa Gillespie, Leah Grace, Tom Harris Lynn Elzinga Henry, Annabel Hume, Russell Leonard, Susie McMahon, Alison Main Hanna Mancini, Maggie Moy, Samuel Mulcahy, Eija Murch-Lempinen, Helen Petersen Vesna Petiq, Jenny Ramos, Koruna Schmidt Mumm, Jane Siddall, Jane Skeer
Ewa Skoczynska, Deb Sleeman, Trevor Smith, Niki Sperou, Wendy Springhall
Sarah Tickle Kerry Youde and Annabelle Collett
Opening speaker: Leah Grace – Arts and Cultural Officer, City of Alexandrina
Exhibition launch: Sunday 15 April 2018
Exhibition concluded Saturday 26 May
About the exhibition: Presenting the doll as a medium for creative exploration and expression, this exhibition saw artists push the limits of doll design. They assembled a myriad of components to create a curious mix of works.
Tom Harris, Sunbeam the Centaur, 2018, kitchen mixer, industrial scrap, broken doll
27 x 28 x 16cm
Kerry Youde, Made In Japan, 2016, digital collage printed on metallic paper with acrylic mount, 45 x 50cm
Susie McMahon, Transmutation: Mor-Rioghain, 2018, painted linen, cotton, air-dry clay
52 x 25 x 15cm
Rethinking the readymade
Artist: Jane Skeer
Image: Jane Skeer, Retiring the Load (detail), 2018, discarded truck straps.
Exhibition launch: Sunday 25 February 2018
Opening speaker: Christopher Orchard – Artist and Lecture
Adelaide Central School of Art
Exhibition concluded 29 March
About the exhibition
Jane works with discarded materials of the everyday and presents them anew, encouraging us to think about our relationships with familiar ready-made objects. Through her work Jane tells us she is “aestheticising waste”. This in turn shifts the original object’s physicality to one of potential beauty.
Celebrating Gallery 1855’s fifth anniversary
Images (top left & clockwise): John Foubister Flowers, clouds and other lives (detail), 2016 oil on board, 61 x 81cm; Roseanne May, Under the Sakura (detail), 2016, pigment print on archival paper, 31 x 45cm; Mirjana Dobson, Synthetic Growth (detail), 2017, ceramic, glass, mixed media, 8 x 60 x 60cm
Works by Alana Preece, Alison Main, Ann Whitby, Annabelle Collett
Annette Dawson, Barbara Davis, Belinda Keyte, Brianna Burton, Bridgette
Minnuzzo, Cassidy Burton, Catherine Buddle, Cathy Brooks, Charlotte Guidolin
Christine Pyman, Dan Monceaux, Diana Mitchell, Eija Murch-Lempinen
Ellen Schlobohm, Emily Lauro, Emma Monceaux, Ervin Janek
Ewa Skoczynska, Frances Griffin, Gary Campbell, Jack Ladd, Jessamy Pollock
Joanne Crawford, John Foubister, Judith Carletti, Judith Rolevink, Keith Giles
Lee Cornelius, Margie Kenny, Melanie Fulton, Melissa Gillespie, Miriam Hochwald Mirjana Dobson, Neal Powell, Nerida Bell, Niki Sperou, Roseanne May, Sally Goldsmith Sally Heinrich, Sonya Moyle, Sophie Dunlop, Stefanie Giese, Sue Garrard, Susan Bruce Susan Long, Talia Dawson, Victoria Paterson
Exhibition Launch: Sunday 5 November 2017
Opening speaker: Kevin Knight, Mayor, City of Tea Tree Gully
Exhibition concluded: 9 December 2017
About the exhibition: The title BLOOM signifies the blossoming and growth of our Gallery and Studio, alongside the development of the visual arts within our community. We invited artists to explore all things bloom. The 51 artists selected to participate in this exhibition represent both local artists and artists throughout Adelaide and beyond. Audiences enjoyed ceramics, video, photography, jewellery, painting, pastels, textiles, glass and more.
Ceramic art Sami Porter explores the wonder of microscopic forms. She combines ceramics and found objects to produce sculptures that reveal the microbiological aspects of nature.
Opening speaker: Jo Crawford, artist and ceramics lecturer, University of South Australia.
Exhibition launch: Sunday 24 August 2017
Exhibition concludes Saturday 28 October
Image: Sami Porter, Lamenta Gaia 1, porcelain and crystalline glaze, dimensions variable. Photo: Victor Marillance
Stories (by Connie Berg, Penny Cowell, Malcolm Walker) and photography (by Sam Oster) of 8 Tea Tree Gully based gardeners whose lives have been enriched by their gardening pursuits. Their commitment and passion for their respective gardens, whether ornamental, business or produced based is celebrated through this community based project.
Over the last 12 months, we have been working with these gardeners; interviewing and photographing them, and then sharing aspects of their gardening lives with
SALA Festival audiences to consider and enjoy.
Four of our eight gardeners featured in this exhibition include: Monica’s Organics (A small family owned business operated by Monika Fiebig and her son Daniel who take pride in producing certified organic vegetables that are nutritious and chemical free); Megha Sharma (Megha migrated from Delhi, India 8 years ago to meet her husband Subodh in Australia). Megha creates the most delicious chutney from the mint that she grows in her suburban garden.); Pioneer Court Community Garden (Run and shared by residents in the Highbury community. It is filled with an abundance of fruit trees, vegetable and other flora.); Ruth de Mazzeo (Over several years Ruth transformed the desolate back of her small housing commission home into a colourful rose and floral sanctuary. Ruth is forever photo documenting her blooms and sharing them with her friends.) and Our Lady of Hope Catholic Primary School (Features a gardening program for the students who prepare food using the veggies and herbs grown and harvested by them at school).
Also showing during at Gallery 1855 are garden inspired works by Alison Main, Christine Pyman, Holly Marling, Lucy Timbrell, Michal Kluvanek, Rebecca Cooke, Robert Habel & Yve Thompson.
Opening speaker: Tony Kanellos, Curator Santos Museum of Economic Botany.
Exhibition launch: Sunday 6 August 2017
Opening speaker: Tony Kanellos, Curator, Santos Museum of Economic Botany
Exhibition concludes Saturday 16 September
Garden Instinct image taken in Ruth de Mazzeo’s garden, 2017, by Sam Oster.
Through Kaurna Miina
Kaurna / Ngarrindjeri artist Paul Herzich expresses his personal connection and knowledge of Kaurna culture and landscape.
Opening speaker: Tony Kanellos, Curator Santos Museum of Economic Botany.
Exhibition launch: Sunday 25 June 2017
Opening speaker: Auntie Lynette Crocker, Senior Kaurna Elder
Exhibition concludes Saturday 29 July
Image: Paul Herzich, Weaving Stitches, 2017, Corten steel, acrylic, LED lighting, 60 x 120cm.
No Bridge Too Far
James Parker and John Whitney explore the bridge as a landmark and anchor identity and place
Exhibition launch: Sunday 7 May 2017
Opening speaker: Tricia Walton, Chief Executive, Carclew Youth Arts
Exhibition concluded Saturday 10 June
The Story Stones
Artists Belinda Broughton and Erwin Janek explore the desire for meaning through drawings, prints, photography, installation and sculpture.
Exhibition launch: Sunday 26 March 2017
Opening speaker: Gavin Blake, Director Centre For Creative Photography
Exhibition concluded Saturday 29 April
Images (clockwise): Belinda Broughton, Night creature, 2016, archival inkjet print; Ervin Janek, Twirl, 2017, archival inkjet print; Belinda Broughton, noodle ned, 2017, archival inkjet print.
Hills Edge Clay
Bi-annual ceramics exhibition presenting the work of 20 Adelaide based artists. Including, Lauren Abineri, Alison Arnold, Amelia Castellucci, Anna Couper, Jo Crawford, Nikki Dowdell, James Edwards, John Feguson, Helen Fuller, Philip Hart, Marie Littlewood, Sunshine March, Sophia Phillips, Sami Porter, Alison Smiles, Merrilyn Stock, Silvia Stansfield, Samone Turnbull, Mark Valenzuela, Angela Walford.
Tea Tree Gully has a certain affinity with clay – historically (in terms of porcelain clay mining) and creatively (in terms of the local community’s interest and engagement in ceramic art). Since Gallery 1855 opened we have worked towards deepening this affinity by connecting South Australian ceramic artists with the community through Hills Edge Clay and other creative development activities.
Exhibition launch: Sunday 5 February 2017
Opening speaker: Klaus Gutowski, ceramic artist
Exhibition concluded Saturday 18 March
Images (clockwise): Sophia Philips, Vertebrae, 2015, porcelain, gold lustre, wire, dimensions variable; Angela Walford, Deserts, blizzards + palm trees, emotive travels of lil fat bird, 2016, stoneware, slip, underglaze, 11 x 11 x 8 cm; Alison Smiles, Koala jars (detail), 2016, SA terracotta, dimensions variable.
Images (clockwise): Nikki Dowdell, Sial, 2016, Southern Ice porcelain, glaze, gas reduction fired, 10 x 20 x 17 cm; Samone Turnbull, Blue on orange, 2016, wheel thrown white stoneware, slip painted, clear glaze inside, 32 x 23 cm; John Ferguson, Basin, 2016, ceramic, 12 x 20 x 2o cm.
I heart paper
Paper cut works by Ellen Schlobohm
A ‘love letter’ from the artist to her chosen medium revealing the true beauty of paper
Intricate pen and ink patterns on paper
Pen and ink on paper by Cathy Gray
Exhibitions launched: Sunday 20 November 2016
Opening speaker: Carol Neil, Director Community Development, City of Tea Tree Gully
Exhibitions continued until Friday 23 December
Cathy Gray, Balance, 2014, pen and ink on paper
Cathy Gray, Unspoken word (detail), 2015, pen and ink on paper
Ellen Schlobohm, Flourish (detail), 2016, paper cut.
Ellen Schlobohm, Bugs, (installation detail), 2016, screen prints.
Exhibition statement: Both artists demonstrate an intuitive approach to design and the materiality of paper, but in very different ways. Cathy through incredibly meticulous black and white patterned designs, and Ellen through playful and yet masterful paper cuts.
Paper is at the heart of Ellen’s work. Underpinning I heart paper is the transformation of this humble material into exquisite works of art. Through skilful cuts of the blade the artist has created works that intrigue and delight. She is drawn to paper as a medium for its simplicity and strength. Recently her arts practice has expanded to include other artistic avenues such as screen-printing and mixed media works.
Cathy draws exclusively with black ink, a method that imbues her work with stillness and simplicity. The delicacy of her finely detailed designs is reminiscent of an embroiderer’s needlework – in particular, lace. Cathy’s exquisite and engaging designs are much sort after by a range of product manufacturers within the home décor and life style industries.
Illustrative approaches informed by spontaneity and design, while celebrating our precious natural environment, wildlife, habitat and ecosystems.
Exhibition launch: 2pm Sunday 9 October 2016
Exhibition continued until Saturday 12 November
Images (L-R): Permaculture’s spring surprise (detail) 111 x 71cm, In the organic garden (detail) series of three 52 x 52cm, Connected (detail) 85 x 110cm – all hand drawn, digital composite prints.
Exhibition Statement: Margie’s work for this exhibition depicts aspects of our natural world that are important to her. Most of the pieces were created in 2016, and combine past techniques with new approaches and experimentation. The pieces are either original drawings, or illustrations developed by hand, which are then scanned and finished on computer and digitally printed in limited editions on cotton rag paper.
Being a keen gardener, Margie celebrates the joys of organic gardening including the surprises that self-seeding plants can bring, and the joy of encouraging beneficial creatures such as bees, ladybirds and chooks into the garden. She draws natural processes such as a microclimate formed by weeds; the wonder of the seed at the beginning and end of life and the beauty and extraordinary function of light through a canopy of leaves to create photosynthesis.
The importance of life sustaining habitat for wildlife is another focus for Margie. Of great concern is the rapid deforestation occurring in Asia to make way for palm oil plantations and in the process, critically endangering amazing animals such as orang-utans, tigers and elephants. Manufacturers hide palm oil in a confusing list of chemical names making it hard for the consumer to recognise that the product they are purchasing, contributes to rapid habitat loss and death of wildlife. Margie tells us that despite the cover-ups and confusion, consumers can become informed and take action.
Connected explores the idea that all creatures and nature are connected very closely together and influence one another, and that life is an incredible force and connected process.
SALA Festival at Gallery 1855
Celebrating SA Artists throughout the gallery with the following exhibitions
- Remnant Formations: Catherine Hewitt with Regine Schwarzer
- There but for the grace of God, go I… Mona Khizam
- Reverse Psychology: Catherine Buddle
- Paintings: Jason Cordero and Talia Dawson
Exhibition launch: 2pm Sunday 7 August 2016
Opening speaker: Christine Nicholls, Head of Visual Arts and Australian Studies, Flinders University
Exhibition continued until Saturday 24 September
Jason Cordero, The Bridge of Shadows, 2014, oil on linen, 122 x 305cm
Mona Khizam, Solitude, Giclee print, 30 x 41cm
Talia Dawson, Pure and Beautiful (detail), 2016, Acrylic on canvas, 60 x 90cm
Regine Schwarzer, Pendant, 2016, coral fossil, Madagascar citrine, sterling silver, leather, dimensions variable
Catherine Hewitt, Calculated Contours (detail), 2016, handmade recycled paper, wire – copper tinned copper, steel, rust pieces, 66 x 54cm
Catherine Buddle, Learning to love: unfinished business (detail), 2016, found porcelain and cotton doll, hand stitched paper, cotton and silk threads, steel needle, dimensions variable
Scratch & Pierce
An exhibition of prints and plates by contemporary South Australian artists exploring the nexus between printmaking and scratched and pierced surfaces.
Curators: Simone Tippett (Union St Printmakers) & Vicki Reynolds (Printmaking, AC Arts).
Exhibition launch: 2pm Sunday 3 July 2016
Opening speaker: Simone Tippett
Exhibition continued until Saturday 30 July
Olga Sankey, Spoils, 2016, Intaglio print, 33 x 25cm. Image courtesy of the artist
Jane Disher, Hearts for Catholic Girls lll, 2016, scraper board. Image courtesy of the artist
50 Years of the Print Commission
A survey of prints by Australian artists and printmakers commissioned by the Print Council of Australia’s annual Print Commission.
Curators: Simone Tippett (Union St Printmakers) & Vicki Reynolds (Printmaking, AC Arts).
For the past 50 years, the PCA has commissioned 10 prints per year
from contemporary Australian artists and printmakers. This exhibition charts the
personal, social and political concerns of the times, as well as changes in material
practice. A fabulously interesting exhibition for anyone interested in works on paper,
printmaking and the way our country has changed over time.
Further information: http://www.printcouncil.org.au/print-commission.
Exhibition launch: 2pm Sunday 29 May 2016
Opening speaker: Vicki Reynolds
Exhibition continued until Saturday 25 June
Mini Graff, The Wrong Brooklyn # 1, 2014, screenprint, 56 x 76cm. Image courtesy of Print Council of Australia.
Cat Poljski, Building Type AB, 2015, etching and screenprint, 45 x 38. Image courtesy of Print Council of Australia.
Michael Kempson, Longing and Belonging, 2014, etching and aquatint, 56 x 76cm. Image courtesy of Print Council of Australia.
celebrating still life, bromeliads and the humble prop
Sophie Dunlop – contemporary realist painter
Whether inspired by a visit to the market or an exotic garden, Sophie relishes the unique and intricate details of each object she conveys. Her meticulous style is countered with a curious eye and unconventional composition, to provide the viewer with a fresh yet thoughtful vision of the familiar. Echoing the evocative nature of a bromeliad or a luxurious oriental carpet, Sophie injects the canvas with intensified colour and texture. This encourages the viewer go beyond the surface in order to touch and smell the succulent flesh or the foliage that she paints and to embrace the luxurious weight of the exotic fabrics.
This exhibition includes old and new works. Old favourites are still lifes inspired by her travels and the humble props she collects. Recent works show a new direction in her art practice through a fascination with the strange and exotic life cycle of the bromeliad.
Exhibition launch: 2pm Sunday 2 April 2016
Opening speaker: Stewart MacFarlane – artist
Exhibition continues until Saturday 14 May
Sophie Dunlop, Bromeliad (detail), 2016, oil on canvas, 137 x 137cm. Photo: Alex Makeyev
Sophie Dunlop, Rebecca of Sudan, 2016, oil on canvas, 122 x 125cm. Photo: Alex Makeyev
Sophie Dunlop, Nocturne, 2010, oil on canvas, 60 x 99cm. Photo: Alex Makeyev
Matrix – the body as scaffold for the methodologies and metaphors of science
Matrix refers to the intersection of art, science and culture.
The term Matrix comes from Latin and translates to womb or mould; it suggests the facilitation of becoming. Niki’s interest is in the transformation of the body through recent technological innovations and as such her creative practice challenges a variety of cultural boundaries or norms.
Bioartist, Niki incorporates living organisms or their parts into her art. Often her artworks allude to an augmented body, one that achieves new potential. The biological realm is subject to change and this results in artworks which have undergone some form of technological transformation in their production.
Launch, 2pm Sunday 7 February. Opening Speaker: Brian Oldman, Director South Australian Museum.
A 2016 Fringe Festival Exhibition
Exhibition continues until 19 March
Introduction to Bioart and exhibition floor talk
by Niki Sperou
Gallery 1855 Studio, 1:30pm, Friday 4 March (allow approximately 1.5 hours)
Trust, 2016, glass Petri dish, agar media, E.coli bacteria, antibiotic, paper, dimensions variable. Photo: Sam Sperou.
Above: this work was initially created for Toxicity, the first major Bioart exhibition in Canada. By recreating a common experiment which tests for new antibacterials in the laboratory and then taking it into gallery, Niki aims to engage cultural audiences with issues and problems associated with imprudent antibiotic use. Although science aims towards the common good, Trust emphasises the need for careful consideration with regard to our actions. Within both science and culture power struggles occur as bodies are subjugated and territories are colonised.
Matrix, (installation detail), crystalised salts, pipe cleaners, dimensions variable. Photo: Sam Sperou.
Above: this work in its entirety emulates the scientific layout of a human skeleton. It also refers to matrix as a scaffold for bodily transformation. Matrix is inspired by a lecture series Niki attended at an AusBiotech convention. The focus of the lectures was a desire to move away from the modernist industrial model where high temperatures and metal are used for the production of built structures. Instead, the soft power combination of low heat and organic growth was preferred. The structure of bones, a combination of flexible protein and rigid minerals was a suggested model. Since then Niki has witnessed a growing trend toward various forms of biopolymer matrices to repair and augment the body.
Ode to Bioart (memory quilt), 2016, cotton on wool, 200cm x 200cm. Photo: Sam Sperou
Above: this memory quilt playfully references the works of Australian and international Bioartists. These images include rabbits, flowers, frogs, pigs and other familiar forms you might see on a domestic quilt, however a closer look reveals the intervention of science. Her aim is to bring the complexities of science into the domestic realm.
Hills Edge Clay
Lauren Abineri, Alison Arnold, Jane Burbidge, Anna Couper, Gus Clutterbuck, Jo Crawford, James Edwards, Lesa Farrant, John Ferguson Honor Freeman, Helen Fuller, Erin Harrald, Phil Hart, Marie Littlewood Sunshine March, Leo Neuhofer, Maria Parmenter, Sophia Phillips, Sami Porter, Alison Smiles, Silvia Stansfield, Samone Turnbull, Angela Walford
Launched Sunday 15 November 2015
Opening speaker: Dr. Julie Bartholomew, Studio Head, Ceramics, School of Art, Architecture and Design, University of South Australia
Hills Edge Clay provides a dynamic slice of South Australian contemporary and traditional ceramic art for the community to engage with and enjoy.
The exhibition was initiated by Gallery 1855’s Arts Round Table Advisory Group, as a way to offer ceramic artists, who are based locally and in wider metropolitan Adelaide, the opportunity to present their work in a professional and supportive environment on an annual basis.
Image: Phil Hart, Joan, 2014, coil built ceramic underglaze decoration, 42 x 16 diam. cm.
Image: Gus Clutterbuck, Musgrave ranges, 2014, Jingdezhen porcelain, slipcast and monoprinted, 8 x 107 x 8cm
Image: James Edwards, Shackled, 2015, porcelain, automotive paint, dimensions variable
Image: Sunshine March, Gather and Share, 2015, table ware – ceramic with scraffito, dimensions variable
Image: Honor Freeman, Testing the waters ll, 2012, slipcast and wheel thrown porcelain, 5 x 40 x 11cm.
Exhibition duration: 19 November 2015 – 23 January 2016
Gallery closed from 20 December 2015 and reopening 14 January 2016
ECOLOGIES OF PLACE – people, places, plants and other perceptions
Curated by Margaret Sanders
Works by Catherine Buddle, Jenny Clapson, Sam Oster, Stephanie Radok and Margaret Sanders
This exhibition brings together five artists whose previous work has focussed on relational and place-based concerns. Each artist was invited to make work about their responses to a particular place through the prism of an ecological enquiry.
My approach has been to co-curate this exhibition with the artists. We have developed our ideas though informal conversations and discussions with the expectation that in the process the concerns of the work would articulate and define the subject of the exhibition.
The artists were invited to take an open and interpretative approach. What are ecologies? What is place? These few words raised many questions. At times the scope of the exhibition seemed to be an elusive riddle. However, as a koan irritates the mind into action, the artists reacted with a diversity of surprisingly personal responses.
Consider, the blackened fire ground which has found renewal. The needle and thread which has drawn out hidden memories and affixed them as resolute knots on flimsy gauze. The moth seeking the bright windows of a house at night. The yellow hills listening to the stories of extinct birds and newly arriving plants. The single flower which exists in array of invisible connections.
When one looks at a subject from the embrace of multiple points of view one is reminded of Jorge Luis Borges famous maxim
There isn’t anywhere on earth a single page or single word that is, since each thing implies the universe, whose most obvious trait is complexity.
Margaret Sanders, September 2015
Launched 27 September 2015, Opening speaker: Mark Parnell MLC
Exhibition closing date: 7 November 2015
LOOKING BUT SEEING
…something familiar for the first time
2015 SALA Festival exhibition Looking but seeing featured 25 South Australian artists using various media to respond to the experience of seeing something familiar for the first time.
We’ve all experienced a difference or momentary strangeness in a familiar environment, object or person. These experiences can be unsettling but they can arouse one’s curiosity and call for deeper interpretations.
Looking but seeing proposed the importance of looking deeply, visually excavating and actually seeing or attempting to understand through the process of making art.
Opened: 9 August
Concluded: 19 September
Bente Andermahr, Gary Campbell, Annette Dawson, Talia Dawson, Ed Douglas, Greg Geraghty, Robert Habel, Amy Herrman, Margie Kenny, Cat Lennard, Susan Long, Sally March, Bridgette Minuzzo, Megan O’Hara, Ken Orchard, Christine Pyman, Amalia Ranisau, Judith Rolevink, Betty Smart, Chris Thiel, Di Vanstone
Image: Amy Herrmann, untitled, 2015, Giclee print on photo rag, 100 x 75cm
Image: Greg Geraghty, Hide & Seek 2014, Hiding. Oil on plywood 84 x 100.
Image: Ed Douglas, Gateway of the manifold secrets: for David Nash, Archival pigment print, 76 x 100
Read more about the history of the SALA Festival in this article from The Conversation, where Gallery 1855 and Tea Tree Gully have been featured.
Curated by Simone Tippett from Union Street Printmakers and Vicki Reynolds, head of Printmaking at the Adelaide College for the Arts.
Exhibition of prints and plates about inking paper and skin. Works by contemporary Adelaide print artists responding to the nexus between printmaking and tattooing in popular culture. The works were exhibited alongside the plates and matrices used to make the prints.
Opened 5 July 2015
Concluded 1 August 2015
Image: Simone Tippett, Heart lll, resingrave engraving
Image: Michael James Rowlands, Derby, relief print
POCKET ART – charms, miniatures and small scale multiples
11 February – 21 March 2015
David Baker, Catherine Buddle, Gary Campbell, James Edwards, Keith Giles, Frances Griffin, Sally Heinrich, Alan Jury, Alison Main, Holly Marling, Janet Neilson, Julie Pieda, Jessamy Pollock, Lee Salomone, Margaret Sanders, Regine Schwarzer, Ewa Skoczynska, Niki Sperou and Rachel Young
Image: Julie Pieda (koushdesign.com), Cadalino Brooches. Photograph: Craig Arnold
Image: Catherine Buddle, Cocoon Brooch, 2014, hand cultivated silk cocoon, Japanese vintage paper and rayon filament thread, hand-crochet, rare earth magnet findings, 25 x 50 x 50mm. Photograph: Grant Hancock
Assemblage , prints, photographs and books by Susan Bruce, Gary Campbell and Ewa Skoczynska
Ewa, Gary and Susan have worked collaboratively or individually to explore the multiple meanings and nature of shadows, from arresting angel-like forms to shadowy shapes that occasionally distract you in your home or outside on the street.
Opened: Sunday 6 April 2014
Guest speaker: Dr. Rosslyn Prosser, Lecturer/Honours Convenor, Discipline of English and Creative Writing, University of Adelaide
Exhibition dates: 9 April – 10 May 2014