The Annual Exhibition is the highlight of the Art Society of Tasmania calendar. Artists submit work created in the last 12 months to be judged for prizes from sponsors. Artworks include representation of all mediums and genres, and showcase the skill, talent and imagination of local artists.
Haetaek Choi. Untitled 1 (2022). Oil on canvas. 40cm x 40cm
New abstract works by Haetaek Choi comprising of a combination of Automatism, Serendipitous, coincidental expression and Eastern calligraphy.
Automatism Through subconscious, automatic acts of creativity, l strive to express how one is able to visually put to canvas the subconscious visual reality that comes to mind without meticulous planning. Through brush strokes, this instant interpretation of the chaotic unconscious world explores the concept of automatism.
Serendipitous, coincidental expressionism A coincidence is contrary to logos-centred rational thinking. This form of expression combined with automatism produces surprisingly serendipitous artistic results. Although I commence my artwork with a certain image or purpose in mind, I can’t help but accept the end result because it is a result of the convergence between the intentional and unintended.
Eastern calligraphy Amongst the oriental style of brushstrokes, the calligraphy handwriting, which is called chaucer, is a tool where one communicates a clear linguistic message. The varied strength of the brushwork on the canvas however, results in an amazing pictorial image that can be left to further creative interpretation.
“When the three visual elements of Automatism, Serendipity and Eastern calligraphy are combined, I float colours, blend and permeate the paint on canvas, which draws out the contrast between primary and complementary colours.” – Haetaek Choi, Hobart, September 2022
Haetaek Choi. Untitled 2 (detail) (2022). Oil on canvas. 40cm x 50cm.
Haetaek Choi. Untitled 4 (detail) (2022). Oil on canvas. 90cm x 160cm.
Haetaek Choi. Untitled 3 (detail) (2022). Oil on canvas. 60cm x 60cm.
Huon Valley (detail) (2022). Oil on canvas. 90 x 200 cm
Quietitude. A state of stillness, calmness and quiet in a person or place.
An exhibition of paintings by Salamanca Arts Centre Resident Artist Jane Flowers. In 2021, Jane Flowers completed a two-week Residency in the Short Term Studio (Space 238).
Opening Event Friday 9 September 2022, 4:30pm – 6:30pm
“A love of nature permeates my work. I endeavour to find stillness and a sense of tranquility in landscape and seascape and convert moments in time and space to canvas. Bringing the outside in if you like. Installing a quiet state of repose and serenity to the viewer.
During my Residency in 2021, one of the first things I did was head to Seven Mile, one of my favourite beaches. To clear my head for my residency. I love its vast expanses of tide washed sands; endless skies and expansive views to horizon. Beach combing for visual treasures and walking quiets and resets my mind.
Though I’ve visited Tassie many times, I hadn’t before visited the far reaches of the Huon, and was much taken with the beauty of the waterways. A beauty on the surface that I sadly discovered is being systematically eroded I discovered on reading Richard Flanagan’s Toxic at the end of my Residency. Ironically too – clearing a hillside and or putting through a road cutting allows a better view of the iconic shapes of Tassie’s tall timber.
In this exhibition I’ve explored both the vignette and the wide expanse. Subtle colours distinctive palettes and sheer beauty of southern Tassie’s coastline and hillsides. Previous studies in graphic design encourage my artist eye and the ability to see the landscape in its simplest form. To distill its qualities.
Themes I developed and explored in this show include sunlight on water, delights of beachcombing, the wonder of being at sea, gazing at skies and hillsides, the shape of a sail on the horizon, wind and water, sea and sky, the wonder of treescapes.” – Jane Flowers, August 2022
Mermaid’s Lair (2022). Oil on canvas. 61 x 61 cm.
Cloud-break (2022). Oil on canvas. 91 x 86 cm
Off Fleurty’s Point (2022) . Oil on canvas. 51 x 61 cm
Jane Flowers
Jane Flowers is an award winning Australian artist who specialises in dramatic oils on canvas of nature, the ocean and the outback. Her unique interpretations create striking artwork that have gained a strong following among art lovers, collectors and interior designers. The landscapes and seascapes that Flowers creates have the ability to make a room come to life by subtlely transforming the natural beauty of the outdoors into a stunning interior space. Flowers draws inspiration from her regular travels to capture the essence of a time and place. A keen yachtswoman, diver, beachcomber and adventurer, Flowers is passionate about the beauty of nature and the natural environment. She has been a professional artist for 30 years following careers in teaching, advertising and graphic design.
Justine Wake. Pedros Garden (detail) (2022). Acrylic on Canvas. 68cm x 48cm
Opening Event Friday 22 July 2022 5:30pm – 7:30pm
Paintings, drawings and assemblages from Justine Wake’s recent Arts Residency at Salamanca Arts Centre. The exhibition includes one of Justine’s ‘busking walls’ for people to interact and purchase from, with offerings of their choice.
Working away from home, with kunanyi mountain in sight, Justine Wake’s exhibition focuses on the small things and the very big things of life, using painting, drawing and assemblage. Justine’s exhibitions often incorporate a playful and interactive body of work and in this exhibition there is a ‘busking wall’ taking up an entire wall of the gallery. The wall is covered in paintings and drawings of all sizes and mediums, giving you the chance to spend time considering what stands out and whether any of the works might have a use or meaning for you. If a work ‘lands’, just as a busking musician’s music might ‘land’, the work can be taken home at a price of your own choosing. Works on the busking wall can be marked with a red dot for collection later or removed and taken home on the day.
Justine is a family woman and psychotherapist who has been working in mental health for 22 years and in the field of art psychotherapy for over a decade. Justine has practised as a painter for even longer. The last seven years have seen a more focussed approach to art making for Justine with a number of residencies and solo exhibitions in Meanjin/Brisbane and in Naarm/Melbourne.
Justine Wake. Red tree. Acrylic on canvas!. 20cm x 30cm.
Justine Wake. Busking wall (detail) (2022). Multiple works.
Justine Wake. Kisses (2022). Mixed media assemblage. 8cm x 10cm.
Photo by Kate Atkinson.
Justine Wake
Justine Wake is from Meanjin, Queensland and her recent Arts Residency at Salamanca Arts Centre has focussed on harvesting the crops grown from seeds planted over the past few years of her family life and work as a psychotherapist.
The majority of Justine’s art making is a response to ideas and experiences that run through her mind as she goes about daily life. In these reflections, she is often interested in the experience of being ‘betwixt and between’ – who do we become when we are in a space that has no context or a space that exists only due to being between two different states.
“I am in middle age now, an interesting kind of in between time. As a psychotherapist I also spend a lot of my working life in this space with people- supporting emergence from unwelcome or uncomfortable places in between. I am intuitively and also professionally comfortable inhabiting this realm. To explore this in my imagery, I am drawn to the metaphorical richness of colour, the botanical world, animals and the elements.” – Justine Wake
Various materials, Radiant Pavilion pieces by Jane Hodgetts , Anna Weber, Emma Bugg, Gabbee Stolp. Photo: Emma Bugg
State of Flux Workshop operates from Salamanca Arts Centre as a contemporary jewellery and object gallery and workshop.
State of Flux Workshop strives to create a greater connection with mainland peers and instil themselves in the national and global conversation of contemporary jewellery and objects.
In September 2021, State of Flux Workshop was successful in their bid to exhibit in Radiant Pavilion, Melbourne’s Contemporary Jewellery and Object Biennial.
The revolving selection of pieces displayed in the Lightbox demonstrate some of the techniques, tools and prototype workings of pieces before they are complete.
Pieces reflecting themes by each of the four individual members of State of Flux Workshop will be on display, alongside slow motion video documentation, giving a closer look at processes behind how things are made.
Infliction defines itself between a reconstructed ruin and a reclamation of culture, archives, and materiality. In re-forming these structures that have been lost, the works looks forward, constructing staunch architectural forms that have never existed within lutruwita.
These roughcast structures fulfill the duty of representing my place, my family storyline, and serve as a residence for everything ‘inherent’. Further these constructions have become a beacon for unknown ancestors to gather, a landmark for dialogue around losses of indigenous origin and place, and an expression of transgenerational emotions that are rooted in the dark and violent past of Tasmania’s colonisation.
Artist
Jordan Cowan
Jordan Cowen is an indigenous multi-disciplinary contemporary artist/designer based on Muwinina Country. His artistic expressions over time have become grunge yet direct in aesthetics. Jordan composes works through processes of construction, destruction, decay, and reclamation. His practice has expanded from a continuous inspiration of ruins, archives, street art, and nipaluna’s urban environments. Grasping on topics that connect/concern culture, displacement, and temporality of place.
Studio Adeney. Mara bench prototype (2022). Tasmanian Oak.
The debut solo exhibition by emerging Tasmanian designer-maker Patrick Adeney.
Concept to Collection is centred around two bodies of work, ‘Elbe’: A series of dining tables, and ‘Mara’: A series of benches. The work is tactile and sculptural, soft edges and sweeping curves enticing the viewer to touch and feel the work.
In developing these bodies of work, Patrick has been able to explore materiality, form, balance, colour, and their relationship to functionality. He has been able to experiment with his designs and identify where a design is successful, and more importantly- where it is not.
This developmental stage has been greatly assisted by Patrick receiving the Springboard Scholarship at Designed Objects Tasmania. The scholarship has funded Patrick’s workshop and studio expenses for 6 months, and also committed funding towards his exhibition. Designed Objects Tasmania (DOT) continues to provide fantastic resources and support for early career designers in Hobart.
“The support from DOT has been enormous. As an emerging designer, the people of DOT have really helped me to develop my work, which is invaluable during these early stages.”
Patrick is inspired by the vast natural world around him in Tasmania, his furniture referencing shapes and junctions found in some of Tasmania’s most iconic trees. Whilst the work is sculptural, it is equally functional and robust. The maker loves to showcase how timber can be connected, with a strong focus on exposed joins; bringing a more traditional element into a very contemporary practice.
Concept to Collection follows the story of each piece as it develops; how necessary changes are made to overcome issues, and move towards a fully resolved design.
It is through this process of exploring an idea, creating a design, building it, then rebuilding it – that the maker feels most comfortable.
“I never formally trained as a furniture maker, my background is as a tradesman. Design for me can’t just be on the iPad, that will get me only 50% there. I need to make it, look at it, live with it, study it in the flesh and then do it again.”
“This process of refinement is not about seeking absolute perfection. It’s about working towards it. It’s about taking the best parts of a prototype and doing it again, this time a little better.”
This exhibition was assisted by Arts Tasmania.
Studio Adeney. Elbe dining table (2022). Tasmanian Oak.
Studio Adeney. Elbe dining table (2022). Tasmanian Oak.
Studio Adeney. Mara bench prototype (2022). Tasmanian Oak.
Photo: Daine Singer
Artists Matt Arbuckle | Wona Bae and Charlie Lawler | Sean Bailey | Bronwyn Dillon | Eloise Kirk | Grant Nimmo | Kate Tucker | Alice Wormald
Opening Event Friday 10 June 2022 5:30pm-7:30pm
Curator + Artist Floor Talk Saturday 11 June 2022 11am Long Gallery Salamanca Arts Centre The panel will consisted of artists Kate Tucker, Eloise Kirk, Grant Nimmo and curator, Daine Singer
The exhibition draws inspiration from the O horizon, the top layer in a vertical profile of soil. This is the top strata of earth, the biodiverse site of microorganisms and fungi, decomposing organic matter from plants and animals, leaf litter, mosses and lichens.
The O horizon has metaphoric connotations of regeneration, and the naming of this underfoot layer as a ‘horizon’ is richly evocative. Rather than being in the distance, a horizon can be immediately beneath your feet.
The exhibition refocuses our attention to the earth, the O horizon and nutrient-rich topsoils that are vital to life and our environment.
O Horizon is curated by Daine Singer
Artists
Photo: Jesse Hunniford
Matt Arbuckle
b.1987, Auckland/Tāmaki Makaurau, New Zealand. Lives Tāmaki Makaurau/ Auckland and Naarm, Melbourne
Matt Arbuckle splits his time living and working as a practicing artist between Tāmaki Makaurau, Auckland, New Zealand and Naarm, Melbourne, Australia. He graduated from Unitec Institute of Technology, Auckland, with a Bachelor of Fine Arts in 2009. Arbuckle has held solo exhibitions at Daine Singer (Melbourne), Two Rooms (Auckland), Vermont Studio Centre (USA), Bus Projects (Melbourne), Parlour Projects (Hawks Bay, New Zealand), Tim Melville (Auckland), Paulnache Gallery (Gisborne, New Zealand), Baustelle Gallery (Berlin). Group exhibitions include ChaShama (New York), Drill Hall Gallery (Canberra), Hugo Michell Gallery (Adelaide), TCB (Melbourne), Hanging Valley (Melbourne), The Pah Homestead, TSB Wallace Arts Trust (Auckland), Arbuckle has also participated in Sydney Contemporary, and Melbourne and Auckland art fairs.
In 2017 Arbuckle was the recipient of the James Wallace Art Fellowship to Vermont Studio Centre, USA. He has held recent solo exhibitions in 2020 and 2021 at Two Rooms (Auckland), Daine Singer (Melbourne) and Hastings City Art Gallery (Hastings, New Zealand). In 2021 he undertook a residency at Driving Creek (New Zealand). Arbuckle’s work is held in the Chartwell Collection, Auckland Art Gallery Toi o Tamaki, James Wallace Arts Trust and Arthur Roe Collection.
Photo: Jesse Hunniford
Wona Bae and Charlie Lawler
Wona Bae b.1976, Muan, South Korea. Lives nipaluna/Hobart and Narrm/Melbourne
Charlie Lawler b. 1980, nipaluna/ Hobart. Lives nipaluna/Hobart and Narrm/Melbourne
Artists Wona Bae (South Korea) and Charlie Lawler (Australia) are a collaborative duo, who have been making work together since 2004. They are internationally recognised for their experimental and concept-driven installations and sculptures that navigate the visceral and symbiotic connections between people and nature. Central to their practice are the essences of minimalism, harmony and balance. Bae and Lawler present the natural world as active and central in an era of polarisation, inequality, inaction and apathy. Using a language of texture and reduction, their work combines immersive installation, sculpture, relief, sound and photography.
Bae and Lawler have held solo exhibitions at Heide Museum of Modern Art, Melbourne (2019/20); Backwoods Gallery, Melbourne (2022 and 2019); See You Soon Gallery, Tokyo (2017); and Koskela Gallery, Sydney (2016). They were commissioned to create a major new installation for The National at the Art Gallery of New South Wales (2021), and have undertaken other major installations throughout Australia, South Korea, Japan, Spain and the UK. Bae and Lawler have won the 2019 Yering Galley Award and the 2018 Yarra Valley Arts/ RACV Award. They have undertaken residencies at Artspace, Sydney (2021) and Gregans Retreat, Lisdillon, Tasmania (2020).
Photo: Jesse Hunniford
Sean Bailey b.1977 Kaurna/Adelaide, lives Naarm/Melbourne
Sean Bailey’s paintings and sculptures are predominantly abstract, at once hard-edged and loose, precise and improvised. Bailey uses materials such as paint, paper, linen, wood, hydrostone and concrete to gather and harness a painterly energy, manifest non-representational forms and obscure collage and shapes drawn from his personal lexicon of painted formal, organic and symbolic imagery. Bailey is interested in the strict confines and parameters of the painting surface, seeing what can be conjured within the pictorial space, the process and chance of his practice, its limitations and also its potential to extend beyond the border of the picture frame.
Bailey’s solo exhibitions include: Sydney Contemporary; RM, Auckland; First Draft, Sydney; and in Melbourne at Daine Singer, Gertrude Contemporary, Neon Parc, West Space, T.C.B., Joint Hassles and Clubs Project Space. He has participated in group exhibitions at University of Queensland Art Museum, Brisbane; Gambia Castle, Auckland; Special, Auckland; Amsterdam Biennial; Darren Knight Gallery, Sydney; CAST, Hobart; and in many Melbourne spaces including: Spring 1883 Art Fair, Gertrude Contemporary, Sutton Project Space, Hell Gallery, Bus Gallery, Utopian Slumps, T.C.B. and Seventh. As a musician he is known for playing in groups including Paeces, Wasted Truth, Vivian Girls, Lakes, TOL and TAX as well as running the private press label Inverted Crux. He has a BFA (2005) from the Victorian College of Arts and has been a studio artist at Gertrude Contemporary.
Photo: Jesse Hunniford
Bronwyn Dillon b. 1982, nipuluna, lutruwita/Tasmania. Lives nipaluna and Western Australia
Bronwyn Dillon is a proud born palawa woman with strong cultural connections. A muka nawnta — salt water sista. Dillon is a shell stringer and basket weaver, learning the ancient techniques, passed onto her by her elders. As well as being a cultural artist and knowledge keeper, Dillon is a mother to 3 pliri (boys), whom she is bringing up strong and proud. Dillon’s creations are inspired by her culture, her people, and Mother Earth. Each unique piece is created with strong cultural knowledge and explodes with positive energy.
Photo: Jesse Hunniford
Eloise Kirk b. 1984, New South Wales. Lives St Marys, lutriwita/Tasmania
Eloise Kirk works predominantly with collage and poured resins, creating works about suspension, erasure and fragmentation. Often these works contain a central rock or geological form, severed from its context and suspended in resin. Kirk’s works contain landscape imagery sourced from books, which are collaged into her sculptures and paintings, with the torn edges of the books they are ripped from left visible. Her landscapes and mountainous forms are devoid of recognisable locations and references, but favour mountainous peaks, vertiginous slopes, volcanic and geological formations: they are the landscape of the sublime.
Eloise Kirk lives and works from her home studio in St Mary’s, Tasmania, regularly showing in Sydney, Melbourne and Hobart. Having achieved Bachelor of Visual Arts with first class honours, she subsequently completed a Masters of Fine Arts with an Australian Postgraduate Award at Sydney College of the Arts in 2013. Since then, Kirk has exhibited solo in Sydney, Melbourne, Hobart and Christchurch, Chasm Gallery in New York. Her works have been part of group shows at Darren Knight Gallery, Roslyn Oxley, Art Space (Sydney), and the College of Fine Arts (Canterbury, New Zealand), Safari Arts Festival and the Underbelly Arts Festival. Kirk was a finalist in the Fisher’s Ghost Prize, the John Fries Emerging Art Award, the Macquarie Bank Emerging Artist Award and the Grace Cossington Smith Art Prize. In 2014 Kirk was awarded a two month Moya Dyring residency at the Cite Internationale des Arts, Paris. In 2019 she was the recipient of SHOTGUN8, a mentorship program supported by Contemporary Art Tasmania, MONA and Detached. Kirk is represented by Gallery 9, Sydney.
Photo: Daine Singer
Grant Nimmo b. 1979 Naarm/Melbourne. Lives Naarm/Melbourne)
Grant Nimmo has held solo exhibitions at Daine Singer (2021, 2016); Ivan Anthony Gallery, Auckland (2019); Fort Delta, Melbourne (2018); Westspace, Melbourne (2014); Chapter House Lane, Melbourne (2014); Sawtooth, Launceston (2013); Anna Pappas Gallery, Melbourne (2013, 2011, 2010); Stockroom Kyneton, Victoria (2012); TCB Art Inc (2011); Rearview Gallery, Melbourne (2010); and Evan Hughes Gallery, Sydney (2009). He has participated in group exhibitions at galleries including the National Gallery of Victoria, Ivan Anthony Gallery, Spring 1883, Bus Projects, Westspace, TCB Art Inc, Art Athena Athens Art Fair, Seventh, Anna Pappas, Death Be Kind, Korean International Art Fair, Melbourne Art Fair, and Gertrude Contemporary. Nimmo has a Bachelor of Fine Art from Monash University. His work is held in collections including the National Gallery of Victoria and Artbank.
Photo: Jesse Hunniford
Kate Tucker b.1980 Canberra. Lives Melbourne/Naarm
Kate Tucker’s works are created through a collage-like accumulative process of layering, where paintings are cut and combined, with some pieces left raw and others subjected to continuous iterative changes. Alongside large new paintings are a series of hybrid painting/ sculpture works that have complex ceramic bases holding and supporting paintings. There is an interchangeability between material characteristics of painting and sculpture, textiles and printing, and a play between what is holding and what is being held, with an emphasis on literal and metaphoric supports.
Kate Tucker is a Melbourne/ Naarm-based artist. Her recent projects include solo exhibitions at Daine Singer, Galerie Pompom, Art Stage Singapore, Chapter House Lane, c3 Contemporary Art Space, Platform and Helen Gory, and group exhibitions at NADA New York, Sutton Projects, Dutton Gallery, Caves, Tristian Koenig, SPRING1883, Incinerator Gallery, Bus Projects and LON Gallery. Tucker has been a finalist in the Arthur Guy Memorial Painting Prize, Geelong Contemporary Art Prize, The Substation Prize, Albany Art Prize, Bayside Acquisitive Art Prize, The Churchie Emerging Art Prize, Geelong Acquisitive Print Awards, and The Archibald Prize. Her work is held in collections including Artbank, Shepparton Art Museum and Bendigo Art Gallery. Tucker graduated from the Victorian College of the Arts in 2009.
Photo: supplied by the artist
Alice Wormald b.1987 Auckland/Tāmaki Makaurau, New Zealand. Lives Melbourne/Naarm)
Alice Wormald creates paintings depicting strange constructed spaces where surface and depth, representation and abstraction and naturalism and artifice converge. The works often emerge through the process of image collection and collage. She exercises a controlled sense of representation, grounded in concerns around the act of painting and the physicality of paint itself, while reflecting a hallucinatory experience of space and nature.
Alice Wormald completed a Bachelor of Fine Arts with first class honours at the Victorian College of the Arts in Melbourne in 2011. She has held six solo exhibitions at Daine Singer, as well as solo exhibitions at Gallery 9, Linden New Art, Blindside and Shifted. Her work has been exhibited in Synthetica, a NETS touring exhibition at Wangaratta Art Gallery, Swan Hill Regional Art Gallery, Counihan Gallery, Gippsland Art Gallery, Latrobe Regional Gallery and Wagga Wagga Art Gallery. She has also been included in exhibitions including Accession, Bundoora Homestead (2018), Analogue Art in a Digital World, RMIT Art Gallery (2018), Gardening is not a Rational Act at c3 Contemporary Art Space (2017), Visiting Painting at Horsham Regional Art Gallery (2016), Imagined Worlds, Town Hall Gallery (2016) and Vertigo, an Asialink touring exhibition at Galeri Soemardja, Bandung, Indonesia, Museum of Contemporary Art (MoCA), Taipei, Taiwan and POSCO Art Gallery, Seoul, South Korea (2014). Other group exhibitions include Sydney Contemporary, Spring 1883 Art Fair (Sydney 2017 and 2015, Melbourne 2020, 2018, 2016 and 2014) and New Horizons at Gippsland Art Gallery in Sale (2013).
Wormald is the winner of the 2022 Bayside Acquisitive Art Prize and the 2022 Grace Cossington Smith Early Career Award. She has also been a finalist in the Bayside Art Prize (2020, 2017), Darebin Art Prize (2017, 2015), Bruny Island Art Prize (2016), City of Albany Art Prize (2015), Geelong Contemporary Art Prize (2018 and 2014), the John Leslie Art Prize (2016, 2014 – Highly Commended, 2012), the Macquarie Group Prize for Emerging Artists (2013), and the Banyule City Prize for Works on Paper (2013).
Her work is held in the ACU, Artbank, Bayside Gallery, Gippsland Art Gallery, Darebin City Council, Macquarie Group, Horsham Regional Art Gallery, Fiona Myer, Artisit and Joyce Nissan Collections.
Daine Singer is a curator and art dealer. Since 2011 she has run her own independent gallery, representing a group of fifteen artists from Australia and New Zealand with a dynamic program that includes solo exhibitions by gallery artists, as well as projects by unrepresented artists and occasional curated exhibitions. As an adjunct to the exhibition program, she has also published four limited edition artist books through her independent small press, VERSION: Lane Cormick NOHARDATTACK, Jordan Marani EGGS, Kate Moss Wild Thoughts and Peter Davidson Words/ Lines.
Curatorial projects external to her gallery program include Experimenta Utopia Now: International Biennial of Media Art (curatorium, touring Australia 2010-2011), Dream Weavers (CAST Gallery, Hobart 2010), Draw the Line: the Architecture of Lab (National Gallery of Victoria 2009), The Nauru Elegies (DJ Spooky and Annie K Kwon, Experimenta at Blindside and Shed 4, 2010) and Big Screen Shorts (Federation Square 2010).
Before opening her own gallery, Singer has held positions including Gallery Manager at Anna Schwartz Gallery, Associate Curator at Experimenta Media Arts, and Curator at the Museum of Chinese Australian History. She has a BA (art history and history), Grad Dip in Arts Management, and Master of Art Curatorship from the University of Melbourne. Singer currently sits on the Business Advisory Council of the City of Yarra and the MLC Friends of Art Committee, previously she has been a board member of Blindside. She has been a mentor to the University of Melbourne’s Arts Career Mentoring Program, the Seventh Gallery Emerging Curator Program, Wundergym, Contemporary Art Tasmania’s Shotgun program, and The Smith Family’s iTrack Mentor program. www.dainesinger.com
Opening Event Thursday 7 July 5:30pm-7:30pm RSVP here
I Will Survive is concerned with the stories of caution, superstitions, and instructions for survival that were passed on to Hayley Millar Baker while growing up in the wilderness as a child. The underlying stories in I Will Survive are rooted in early experiences of being in bushland with her parents and grandparents. Stories of myths and warnings of sinister spirits, pumas stalking the mountain range, sharks waiting to ravage you, and witches watching in the bushland.
The works consider the ways that memories shift over time. Carried from a young age, these experiences and stories have become embellished, or accrued heightened emotional resonances – they have shifted and changed in their constant retelling. Some have become completely false memories, others more cinematic and profound.
The stories and memories that are planted as early seeds grow and change as we experience life.
Photo: Jesse HunnifordPhoto: Jesse Hunniford
Photo: supplied by the artist
Hayley Millar Baker
b. 1990, Melbourne, AU
Hayley Millar Baker is First Nations (Gunditjmara/Djabwurrung) woman born in Melbourne, Australia (1990). She completed a Bachelor of Fine Arts (2010) and Master of Fine Arts (2017) at RMIT University in Melbourne.
Through examining the role our identities play in translating and conveying our experiences, Hayley works across photography, collage, and film to interrogate and abstract autobiographical narratives and themes relating to her own identity. Her oblique storytelling methods and methodologies encourage us to embrace that the passage of identity, culture, and memory are not linear nor fixed.
Hayley’s works are held in significant public institutional collections across Australia and has exhibited nationally and internationally. Hayley has been a finalist in several prestigious national art prizes including the Ramsay Art Prize (2019 and 2021), Bowness Photography Prize (2021), John Fries Award (2019), and international prizes including Hong Kong’s Sovereign Asian Art Prize (2021), and United Arab Emirates Vantage Point Sharjah 9 (2021), and has won the John and Margaret Baker Memorial Fellowship for the National Photography Prize (2020), the Darebin Art Prize (2019), and the Special Commendation Award for The Churchie National Emerging Art Prize (2017). She was selected as one of eight artists to exhibit in the Museum of Contemporary Art’s Primavera: Young Australian Artists (2018) and has been awarded several residencies including the Artist-in-residence at Monash University Prato, Italy (2022), the First Nations Residency at Collingwood Yards (2021), the Photography Fellowship at the State Library of Victoria (2019). Hayley was a feature artist in PHOTO2021: International Festival of Photography (2021) and has exhibited in other art festivals including the International Ballarat Foto Biennale (2017), and Tarnanthi (2017). Hayley will present a new commission for the 4th National Indigenous Art Triennial at the National Gallery of Australia (2022).
In 2021 Hayley presented her first early career-survey ‘There we were all in one place’ at UTS Gallery, curated by Stella McDonald. The exhibition brought together five pivotal bodies of work from Hayley’s early career for the first time and will tour Australia in 2022.
Millar Baker’s work is held in significant collections across Australia: Australian War Memorial, Canberra; Melbourne Museum, Melbourne; Bundoora Homestead Art Centre, Melbourne; Monash University Museum of Art (MUMA), Melbourne; Murray Art Museum Albury (MAMA), Albury; State Library of Victoria, Melbourne; University of Technology Sydney, Sydney; University of New South Wales (UNSW), Sydney; Warrnambool Art Gallery, Warrnambool; Shepparton Art Museum (SAM), Shepparton; Deakin University Art Gallery, Melbourne; Horsham Regional Art Gallery, Horsham; City of Melbourne, Melbourne.
Hayley Millar Baker is represented by Vivien Anderson Gallery, Melbourne, Australia.
Salamanca Art Centre’s 2022 programs are supported by the Commonwealth Government’s Office of the Arts via the RISE Fund.
Photo: Jessie Hunniford
Proudly presented by Salamanca Arts Centre
What is our future made of?
In Some Silken Moment, Jessie French explores the promise of algae-based bioplastic, creating innovative objects that are elegant, ephemeral, and oceanic. By harnessing this shape-shifting material, French captures a world in a phase of transition, where the permanence of petrochemicals plastics is reimagined through the soft strength of ecological thinking. The exhibit will remain on display until Sunday 4 September.
Opening Event Thursday 4 August 5:30pm-7:30pm Free to attend, subject to capacity. The opening event for Some Silken Moment is sponsored by Spotty Dog Brewers
Artist Talk, facilitated by Loren Kronemyer Saturday 6 August 11am-12pm Free, but registrations essential SOCIAL, 67 Salamanca Place, Hobart TAS 7000
Beaker Street Crawl Saturday 6 August We’re excited that Some Silken Moment will be part of Beaker Street’s Street Crawl! 10am – 4pm This program is a self paced, walkable tour but we recommend dropping by SOCIAL for the Artist Talk with Jessie French from 11am – 12pm and plan the rest of your crawl around this event.
Step inside the Silken lab for a special workshop. Join artist Jessie French as she takes you through her process of exploratory experimentation, demonstrates cooking a batch of algae-based bioplastic and invites you into the process. Participants will be invited to bring along their own surface, object or mould to explore new ways of mixing and applying organic polymers using an array of local organic materials as substrates, pigments and texturisers.
Photo: Charles Dennington
Jessie French
Based in Naarm/Melbourne, Australia, the work of Jessie French explores speculative futures through algae-based bioplastic and water-based ecologies. Housed within an ethos of consumption, sustainability and regeneration, her practice invites others to engage with the possibilities of a post-petrochemical world. Through experimenting with other materials, she explores the potential of closed-loop systems of (re)use and conscious consumption and interaction with objects. In 2020, French founded OTHER MATTER, an experimental design studio working with algae-based bioplastics which engages others in the possibilities of new materials though objects, experiences and futures.
Photo: Saul Steed courtesy of Art Gallery South Australia
Loren Kronemyer | Artist Talk, Facilitator
Loren Kronemyer (b.1988) is an artist living and working in remote lutruwita (Tasmania), Australia. Her experimental artworks are aimed at exploring ecological futures and survival skills through hands-on immersion and deep learning. In 2021, she learned to hand-build millet brooms from Tumut, the last factory in Australia, setting up her own self-sufficient replica of their factory in the project Millennial Reaper (Fremantle Biennale, Melbourne Art Fair). In 2018, she learned to shoot arrows, then became a coach so she could train her audience to shoot at her artwork for the project After Erika Eiffel (ANTI Festival of Live Art, MONA FOMA). In 2016, her collaboration Pony Express created Ecosexual Bathhouse, a touring queer sex club for the entire ecosystem. In 2017, Kronemyer was the first artist in residence at the International Centre for Radio Astronomy Research. She collaborates frequently with laboratories and received the first Masters of Biological Arts Degree from SymbioticA Lab at the University of Western Australia.
Salamanca Art Centre’s 2022 programs are supported by the Commonwealth Government’s Office of the Arts via the RISE Fund.
