Celebrating the achievements of one of South Australia’s most outstanding and influential craft and design practitioners.
Gerry Wedd’s hand built and wheel thrown ceramics brim with a dry wit oscillating from the humorous to darkly disturbing.
JamFactory's Icon series is an annual solo exhibition celebrating the achievements of one of South Australia's leading craft and design practitioners. Our 2016 Icon is Gerry Wedd.
To be opened by Leah Grace, Arts and Cultural Development Officer, Alexandrina Council, on Sunday 3 September at 2.30pm. ALL WELCOME
Drawing inspiration from the area around the lower Murray and Fleurieu Peninsula, Sally Deans paints atmospheric sky, sea and landscapes that are distinctly characteristic of this region.
These works explore the passage of time as it defines our view of the landscape through transitory effects of weather and light, while recording the slower changes marked by nature throughout the changing seasons.
Jewellery, image and objects responding to changing landscapes and ecologies.
To be opened by Leah Grace, Arts and Cultural Development Officer, Alexandrina Council, on Sunday 3 September at 2.30pm. ALL WELCOME
In the shadow of the growing consciousness and concern about the effects of climate change, is a collective anxiety about the passing of a once familiar and trusted experience of the natural world. Combining the Latin word solacium, meaning comfort, with the Greek root algia, meaning pain, Australian philosopher Glen Albright introduced 'Solastalgia' to our vernacular describing the sense of melancholia associated with the negative changes to our loved home environments.
Investigating the intersection between human activity and the altered natural environments along our beaches, oceans, reefs and waterways, works by artists, Lesa Farrant, Claire Brooks, Jo Wilmot speak from place between grief and hope to the growing movement that is driving initiatives that will positively impact on our environment.
'Solastalgia' is a collaborative touring event that aims to connect Adelaide based jewellers/object makers with regional artists who wish to voice their personal or political take on the subject of climate change and unsustainable development.
"In the end our society will be defined not only by what we create, but what we refuse to destroy" Edward O Wilson
Collaboration between Jo Wilmot and Nijiree Paroolitilpa
The artist will be demonstrating his painting mill in the gallery from 1-4pm on Friday 1 September and from 1-4pm on Sunday 3 September.
James Dodd’s practice has meandered across investigations of urban space, creative interventions in public space and notions of high and low art. Having spent a large period of time immersed in Australia’s street art movement of the early noughties he has since pursued a practice that borrows graffiti for gallery outcomes and hijacks conceptual pursuits for application in suburbia. He celebrates cultures of DIY and life hacking, a result of his upbringing in the ‘make-do’ context of an agricultural childhood. A sense of adaptation and hybrid invention is especially present in his recent bicycle sculptures and more general art-machine outcomes.
This selection of works includes vivid paintings, unusual bicycles, strange machines and candid videos. It brings this range of objects together to examine Dodd’s trajectory over the past decade or so and examines ongoing themes such as notions of social and political resistance; adventure and risk; and the hand-made contraption as magical art device.
Shed Wizard is a Country Arts SA Visual Arts Touring exhibition.
James Dodd is represented by Hugo Michell Gallery, Adelaide.
Silver and gold: unique Australian objects 1830–1910 showcases exceptional nineteenth and early twentieth century Australian silver and gold objects drawn from the National Gallery of Australia’s significant collection of colonial decorative arts and design. The theme of this exhibition is celebration, with objects marking significant personal, community and professional achievements and milestones, or displays of prosperity and artistic accomplishment. This exhibition includes presentation, ceremonial and testimonial pieces, jewellery and functional tableware, displayed within themes of Sport, Agriculture, Dining, Goldfields, Achievement and Defining moments. Many of these objects are personalised with engraved inscriptions, providing insights into personal and professional achievements and family, social and business relationships.
Silver and gold celebrates the aesthetic and technical achievements of many of Australia’s most significant early silversmiths. It includes objects made by silversmiths who worked across the country, including Alexander Dick, David Barclay, Henry Steiner, William Edwards, Edward Fischer, John J Cohen and Jochim Matthias Wendt. These silversmiths worked in a range of historical revival and contemporary styles. While British and European aesthetics and traditions pervade the early silverware created in Australia, local styles emerged as a national consciousness developed and became more pronounced towards Federation.
This exhibition highlights the important role that Australia’s early silversmiths played within civic, church and community life. Individually crafted objects provide valuable social commentary about life in the nineteenth and early twentieth century as records of special events, identities and insights into what were considered essential ingredients at the time for building a ‘civilised’ society within the isolated bounds of the colonies. Many of the objects reflect the nationalist fervour of the late nineteenth century, embodying the ideas of nation-building through honouring the individual worker achieving excellence, the heroic sportsman and celebrating Australia’s unique flora and fauna.
Silver and gold reveals the exceptional skills of Australia’s earliest professional craft practitioners and their compelling narratives of Australian social and commercial history.
As early as 1800, Alexander von Humboldt observed the devastating effects of deforestation on climate and on the physiology of the land. His work influenced Charles Darwin, John Muir and Henry David Thoreau. It also informed the research of South Australian climate scientist, the late Prof Emeritus Peter Schwerdtfeger, who made interesting observations regarding the vegetation either side of the rabbit proof fence, and how remnant bushland (as opposed to the wheat belt that runs right up to the barrier) cools the atmosphere and regularly receives higher rainfall than the agriculturally worked land.
South Australia is down to less than 5% of its original tree cover…and land is still being cleared. This fills me with disquiet.
The exhibition makes reference to deforestation, climate change, the gradual shifting of Goyder’s line and to the changing landscape of the state of South Australia. Works will include installations using bones, wild-harvested mud and the detritus of human habitation and farming as well as pieces for the wall using plant dyed cloth and paper. A sound piece created by the artist will add a further dimension.
I live primarily on 500 acres of land situated on the eastern shoulders of the Mount Lofty Ranges in what was once the home of the Peramangk people of South Australia. The land was well-treed until the 1940s, when most of the redgums were felled. Two years after, creeks that had provided permanent water stopped flowing in the summer months.
My work, driven by topophilia, conflates the visual and written poetics of place and memory, using ecologically sustainable contact print processes from plants and found objects together with walking, drawing, assemblage, mending, stitch and text as a means of mapping country, recoding and recording responses to landscape - working with cloth, paper, stone, windfall biological material, water, minerals, bones, the discarded artefacts and hard detritus of human habitation, the local weed burden. The work has been described (by Prof Chris Orchard) as using “the earth as the printing plate and time as the press”.
An exhibition of traditional and contemporary korowais (Maori cloaks) from the Murray Bridge Wahine Toa (strong women) group. The korowai was a garment made in early Maori times and was generally woven or made from traditional materials like flax and feathers. It is worn as a mantle of prestige and honour.
The korowai is one of four types of Maori cloaks and reflects honour, leadership, identity, warmth, protection, skill and beauty. Modern times have allowed makers to construct korowai in contemporary fashion which are also a part of this display.
To be opened on Sunday June 4 at 2.30pm. The opening will include a traditional Maori ceremony to welcome the cloaks to the gallery.
Handheld II brings together artists from across South Australia to create works of art responding to themes of home, travel and place.
The five artists – Karumapuli Jacob Stengle, Debra Rankine, Sandra Saunders, Christopher Burthurmarr Crebbin and Peter Sharrock – have each been challenged to fit their pieces within a vintage suitcase, which is then used to transport the works of art to various venues throughout regional South Australia.
This second iteration of Handheld invites audiences to explore the differing and personal responses to contemporary ideas of place and its meaning to Aboriginal and Torres Strait Islander people. With artists coming from all corners of South Australia, the exhibition takes in the breadth of the state: Sandra Saunders resides on the west coast in small town of Wangary; Christopher Burthurmarr Crebbin lives in the beautiful Adelaide Hills; close by, Karumpapuli Jacob Stengle and Peter Sharrock are based in the suburbs of Adelaide; and, further south, Debra Rankine resides in the Coorong area.
Not only are there variations in the artists’ geographic locations but also in their mediums. Traditionally a ceramicist, Sharrock has decided to instead focus on painting with ochres. Complementing him is Stengle, with nostalgic paintings about his time in a boy’s home as a stolen-generation child, and Saunders, who creates political works with a satirist humour. Crebbin similarly takes a departure from the painting medium to create a sculptural piece, as does Rankine, who has chosen to create a work of art that tells of her family’s historic traditions by weaving her take on a traditional story mat.
The artists were encouraged to extend their installation beyond the boundaries of the suitcase and provide a set of simple exhibiting instructions for each of the venues hosting the show. The objective is to engage installers, the gallery staff, volunteers and the audience to explore, more intimately, the works of art on show and to form these works in their own, individual way. Using the Handheld concept as framework, and with the underlining principle of tactility, the artists can consider how people interact with their work and set as many or as few boundaries as they wish the public and gallery staff to have.
Handheld II continues the discussion begun in 2013, exploring the themes of home, travel and place from a uniquely Aboriginal perspective. It is hoped that these artists will inspire discussion, reflection and exploration as their very personal works journey around the state.
Lyn Lovegrove Niemz
Change Media and Ngarrindjeri Media team
Jen Lyons-Reid, Carl Kuddell, Ellen Trevorrow, Major Sumner
To be opened by Ngarrindjeri elder Major Sumner and the Tal Kin Jeri dancers with a Welcome to Country ceremony, on Sunday, June 4th at 2.30pm. All welcome.
Ngarrindjeri Yunnan Yarluwar Ruwe - Ngarrindjeri Speaking For Sea-Country connects works from emerging and established Ngarrindjeri artists, across cultural practices and modern art forms, including paintings, carvings, pottery, woven sculptures, silk prints and digital works.
This group show will feature Moogy’s Yuki, the first Ngarrindjeri bark canoe made on Ngarrindjeri/ Boandik country in over 150 years, a large woven sculpture of Kondoli the Whale, and the first showing of exciting new work by celebrated artist Damien Shen and upcoming painter Cedric Varcoe.
Co-curated by Change Media’s Jen Lyons-Reid and Carl Kuddell, Ngarrindjeri elders Ellen Trevorrow and Major Sumner, and the participating Ngarrindjeri artists.
This Ngarrindjeri Culture Hub project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and by the South Australian Government through Arts SA.
Face To Face is a series of Zen inspired artworks using recycled found materials, reincarnated into an eclectic range of intriguing portraits.
As I sat outside at my welding bench, shaded from the hot sun by my beach umbrella, with a pile of junk to my right, I emptied my mind (Zen) of any creative ideas, thoughts or pre-planned concepts. I fired up my welder, then randomly selected bits of junk from the pile, placing them on the welding bench. I closed my eyes and using my sense of feeling, positioned the pieces, blind welding them into place. And like magic, faces appeared.
After the first five portraits were completed, the works I made were no longer Zen-inspired. I became aware the intention of my sub conscious mind was to create faces.
Steve Oatway is a Junk Artist, painter and arts director from Mannum.
The innermost parts of a building; a secret or hidden place.
Autobiographical memories fade if not supported and nourished by contact with other people. Through storytelling, the sharing of experiences and emotions merge our memories with the recollections of others.
Penetralia is a collaborative exhibition by artist Uta Mooney and author Glenn Stenson, who, through their individual genres, share their memories and imagination. Through paintings, symbolic imagery and installations mingled with the written word, they explore those nostalgic places upon which one can never return. Combining these two genres the artists invite viewers to explore a new realm of ideas and hopefully discover a delight in remembering their own stories too.
Carole Bann is obsessed with drawing and nature, carefully observing the detail, the elements that are missed by a fleeting glance. Offering simultaneous micro and macro views, Obsessive Nature is a selection of works meticulously created using 24ct gold, silver (metalpoint), coloured pencil and graphite.
Carole Bann is part of a long lineage of artists who have used metalpoint, a technique that has been employed since the time of the Old Masters. Carole is one of the few contemporary artists who are bringing this technique into 21st century usage.
"I drive a great deal through familiar landscapes. I observe the land in its many moods and seasonal changes and the ever changing landscape imprints itself on my mind as I drive. This exhibition shows the paintings that result from my travels, that form themselves from the memory of a moment in time."
A series of luminous high-gloss Giclée prints, each one depicting a circular ‘planet’ of River Murray / Lake Alexandrina water suspended in the indigo of space. These evocative images, reminiscent of that deeply moving photo of Earth taken from the Moon in 1968, remind us that the precarious future of our lakes reflects in microcosm the precarious future of our whole planet – both are precious jewels, both are irreplaceable, and the survival of both is in human hands.
Jenn Brazier, Maude Gum, Simone Kennedy, Mary Packer Harris and Edwin Newsham, John MacAskill, Jessie MacDonald, Lee Salomone, Avis Smith, Beverley Southcott, PH Williams.
Curated by Beverley Southcott.
Hand Over explores the idea of re-remembering and re-honouring the art teachers who taught art mainly between the 1920s to the 1930s at the South Australian School of Art, privately, or in peer exchange and supportive, collegiate friendships. It brings to light a small number of art works by South Australian art teachers and artists, re-airing their contributions to the artistic and cultural fabric of South Australia, in the early to mid-twentieth century.
This exhibition subtly places historical and contemporary art works together to create a shared contribution of the premise that the learning of art skills and practices are handed on to the next generation of artists in a repeating, forever continuous pattern, yet in a cyclical, nuanced, way.
ARTISTS: BETH HATTON, LLOMA MACKENZIE, ANDREA PRZYGONSKI, STEPHANIE RADOK, FANNY RETSEK, SANDRA STARKEY SIMON, LAURA WILLS
A Covenant with the Animals is an exhibition about animals in the world, and their situation today through the issues of extinction, protection and advocacy. The seven artists involved view animals as beings who actively share the world with people and whose stories are worth telling.
The exhibition will be opened by Professor Corey Bradshaw, Sir Hubert Wilkins Chair of Climate Change, University of Adelaide, author with Paul Ehrlich of Killing the Koala and Poisoning the Prairie: Australia, America and the Environment (2015).
Artists: Beth Hatton, Lloma Mackenzie, Andrea Przygonski, Stephanie Radok, Fanny Retsek, Sandra Starkey-Simon, Laura Wills
Curators: Stephanie Radok and Sandra Starkey-Simon
A Covenant with the Animals is supported by the Government of South Australia through Arts South Australia.
Louise Byrne, Annabelle Collett, Cindy Durant, Robyn Finlay, Wayne Mcara, Deborah Prior, Patricia Rose, Sera Waters, Meg Wilson.
Curated by Polly Dance as part of Adelaide City Council’s 2014/15 Emerging Curator Program.
Craft Anonymous brought together South Australian regional and metropolitan textile, glass, metal and ceramic artists for an exhibition in the iconic Adelaide Town Hall in 2015 and now a tour of regional South Australia throughout 2016-17.
Five regional South Australian and four Adelaide-based artists whose practices employ traditional handicraft techniques such as weaving, embroidery, knitting, felting, enamelling and hand-dying are showcased within a contemporary art context; where old meets new.
These artists have dedicated numerous hours to perfecting and finely crafting handmade works of art in what is often a painstaking but pleasurable process of making and through making with one’s own hands, the artists tell their story.
Craft Anonymous addresses ideas around the body: approaching themes of adornment, embellishment, desire/disgust, and identity: public/private, femininity/masculinity, domesticity, place, family history and a sense of belonging.
Craft Anonymous is a Country Arts SA Visual Arts Touring Program
MICHAEL CHORNEY - PORTRAIT OF KANGAROO
Portrait of Kangaroo is an up-close and personal series of large drawings of kangaroos that capture the character of our national icon.
The artist's intention in this series is to portray these animals as individuals, reflecting their unique personalities using a juxtaposition of black and white lineal expression, with dramatic energy, on a large scale.
This exhibition brings a fresh and unique understanding to the Australian kangaroo, a subject which traditionally has been depticted predominantly in symbolic form.
The artist's drawing style is highly expressive with a strong black and white accent placing great importance on clean, white space against linework of graphite, charcoal and wash on frame-stretched 200gsm paper.
ALEXANDER ARCUS - TEMPORAL FRAGMENTS
An exhibition of recent paintings by Alexander Arcus consisting of miniature paintings in gouache on paper and large oil paintings on canvas.
The works in the exhibition are largely autobiographical, with abstraction used to express a variety of concepts from the temporality of personal existence to the desire for a greater individual freedom. They have an abstract ambiguity intended to permit viewers to bring their personal experiences to a viewing of the work.
GLEN ASH, LLEWELYN ASH, JANET AYLIFFE - FROM THE FAMILY TREE
From the Family Tree is an exhibition of paintings by Glen Ash, glass by Llewelyn Ash and journals and prints by Janet Ayliffe. And, for the first time (since long-ago school project days), a collaboration with our Llewelyn, bringing the pictures together in glass.
TOK BASUKI - UNCOMMON VISIONS
The artist explores uncommon perspectives of the Australian landscape, drawing inspiration from visiting sites such as the Adelaide Hills and the River Murray to create compositions that juxtapose up with down, night with day, object with reflection, seen with perception.
Utilising mixed media, including airbrushed automotive and acrylic paints with chrome foil boosting the intensity of light and colour, the artist creates vibrant contemporary works.
Veronica Thurley, Murrayscape, 2016, drypoint, engraving and carborundum collagraph, 100 x 68cm