Showcasing a diverse range of contemporary Australian and International art.

ARTIST FEATURE: Albert Yonathan Setyawan
Indonesia. Lives and works in Tokyo, Japan

Annica: sticks and stones, 2024 terracotta, slip casting, 470 x 470 x 90 cm

Albert Yonathan Setyawan is a contemporary ceramic artist concerned with repetitions – why we form patterns in daily life, as well as the materiality and genealogy of clay in its cultural context. Annica: Sticks and Stones reproduces ‘natural’ objects (sticks and stones) through slip casting. The process reuses the same mould repeatedly and indefinitely, changing the shape of the objects gradually and diminishing their initial forms. Setyawan is interested in exposing the process of making, how shape is altered, and even dissolved by the process of making and producing itself.

Represented by Mizuma Gallery, Tokyo / Singapore @mizumaartgallery

Exhibition continues until 29 September 2024.

Portrait photo by Ezra Alcantra
Exhibition installation photography by Robert Frith

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@albertyonathansetyawan @Crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Trish Little
East Goldfields and Whadjuk Boodja, Western Australia

The mememat, 2000-2023, textile, 1080 x 45 cm

Trish Little (1955-2024) was inspired by the history and memory imbued in the objects of material culture. Started in the year 2000, The mememat is a tactile response to a request for a self-portrait. The work had continued and remained unresolved until close to her death earlier this year, where she wrote “But my mat must have an end (or my stories will all unravel) and so I slowly fill in one last ‘me’ with a very dull and funeral black, hardly readable at all, but marking the space.”

With thanks to the Little Family and Moira Doropoulos

Exhibition continues until 29 September 2024.

Portrait photo by Rob Frith

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

#TrishLittle @Crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

Curtin Campus Art Collection Update! – TL Robertson Library

Now on display is Kelsey Ashe’s Land of a Thousand Myths, 2023, in the T L Robertson Library, Level 7.

Made with wax etched drawings printed as unique state screen-print on canvas, with indigo, henna, saffron and chlorophyll inks, wax, and mounted on 9 wooden panels. This large-scale work was produced for & previously exhibited at ‘HERENOW; In-between-ness’, ECU Galleries, Spectrum Project Space, 2023. It is now part of the Curtin University Art Collection.

"What constitutes a contemporary ‘Australian’ cross-cultural identity is surveyed through my own Celtic convict and migratory ancestry and from the Austral-Asian basin I call ‘home’; the vast land mass of Australia to Tasmania, across to Polynesia and Aotearoa (New Zealand) and to Japan, where family ties have left deep imprints. I also include my imagined, albeit broken and fragmented, ties to the lands of my DNA by mythically transposing Scotland, Ireland and the Faroe Islands into this voyage of cross-cultural influence. Cultural hybridity creates an exchange point in which some things can be lost and traumatically broken, but so too, can new rich and wonderous things be formed." ~ Ashe

Dr. Kelsey Ashe is a contemporary Australian artist, writer and curator, who has developed a signature aesthetic and prose that draws from themes hidden, mysterious, esoteric and surreal, with a particular focus on unearthing the hidden layers of cross-cultural stories embedded in Australian landscape. Ashe is a Curtin Alumni and Lecturer at the School of Design and the Built Environment. @worldofashe

@curtinuniversity @curtin_mcasi @curtinbfagrads @curtin.humanities @curtindbe @curtinlifeaustralia @curtinalumni @explorecurtin @curtinuniversitylibrary
#curtinmedicalschool #publicart #campusart #sculpture #kelseyashe #landofathousandmyths #herenow #inbetweenness

ARTIST FEATURE: Tjanpi Desert Weavers
Mimili, South Australia. Language group: Pitjantjatjara

Artists: Daisy Barney, Harriet Bryant, Betty Campbell, Fiona Dodd, Kathy Dodd, Kim Dodd, Mrs Dodd, Sheena Dodd, Emma Singer, Pauline Wangin & Pinuka (Margaret) Yai Yai.

Tjanpi Desert Weavers is a social enterprise of the Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) Women’s Council, working with women in remote Central and Western Desert regions who earn an income from contemporary fibre art. Ngura Tjanpi (Grass Country) reflects the shapes and forms found on Country, along with the tools and equipment made by women in precontact times. This includes mina (birds’ nests), piti (burrows), kapi kartalpa (rock holes), tali (sand hills) and pitis (wooden carrying dish). These works were created by salvaging metal seat frames from remote car graveyards, using them as free-form weaving.

Collette Stewart, Mimili, 2022. Photo by Em Frank

Exhibition continues until 29 September 2024.

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil Technical assistance: Em Frank, Kate Franklin, Puna Yanima

@tjanpidesertweavers @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Chris Soal
Cape Town, South Africa

Wherever You Go, There You Are, 2021 discarded beer bottle caps, electric fencing cable, polyurethane sealant on board, 135 x 4 cm

Chris Soal works to make poetic statements through the simplest of means, re-enforcing the body as a site for knowledge reception and production. Through his use of discarded and mundane ephemera, the artist intuitively develops what is familiar into something that is unsettling.

The hand that was dealt us, 2023 bamboo and birch wood toothpicks, polyurethane sealant, industrial paint, board, 172 x 132 x 23 cm. Collection of Museum of Old and New Art (Mona), Hobart @monamuseum

The hand that was dealt us uses bamboo and birch wood toothpicks, transforming a familiar everyday object into an unfamiliar mass. The abject nature of toothpicks – their proximity to our mouths and passing of them between hands – is what pushes these forms into a poetic and relational realm.

Represented by WHAT IF THE WORLD, Cape Town, South Africa @whatiftheworld_gallery

Exhibition continues until 29 September 2024.

Portrait photo by Xigera
The hand that was dealt us, image courtesy of artist and Museum of Old and New Art (Mona), Hobart.

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@chris_soal @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Pangrok Sulap
Sabah, Malaysia

Sharing Roots, Shining Hope, 2024 woodcut print on blackout cotton, 140 x 1200 cm

Pangrok Sulap often work with large scale woodcut prints to tell stories and spread social messages. Sharing Roots, Shining Hope tells the story of Malaysian workers embarking on a transformative journey to Australia. It captures the essence of their migration experience, illustrating the emotional and physical challenges they face along the way. To print the work, participants were invited to dance on the woodcut, performing the traditional ‘Sumazau’ dance of Sabah. The crowd’s weight transferred the ink onto the finished print.

Supported by the government of Australia through the Australia ASEAN Council, John Curtin Gallery and the School of Fine Arts @curtinbfagrads , Curtin University @curtin_mcasi and @mycreativeventures Group, Malaysia. Thank you to Malaysian communities that live and work in Perth, Western Australia

Exhibition continues until 29 September 2024.

Group photo by Ezra Alcantra
Video by Steve Alyian and courtesy of IOTA

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@pangrok_sulap @Crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Emma Buswell
Whadjuk Boodja / East Fremantle, Western Australia

The Pool, 2024 wool, cotton, lurex, 270 x 180 cm, 430 x 270 cm

Emma Buswell, through two large scale knitted ‘tapestries’, continues her interest in representations of women’s labour through art history and the use of storytelling to speak to contemporary anxieties on precarity and risk. The Pool draws from the mythology of Narcissus and Echo from Ovid’s Metamorphosis and employs representations of this fable throughout art history. The figures of the feminine Echo – punished for her ‘chattiness’ – and the young Narcissus who falls in love with his own reflection today speak to the contemporary concerns of the echo chamber and narcissistic tendencies in current politics.

Represented by Sweet Pea Arts. This project is assisted by the Australian Government through Creative Australia @sweet.pea.arts

Exhibition continues until 29 September 2024.

Portrait photo by Ezra Alcantra

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@embuzza1 @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Yarrenyty Arltere Artists
Arrerntre / Australia

Artists: Beth Ebatarinja, Roxanne Petrick, Trudy Raggett, Louise Robertson, Marlene Rubuntja, Rosabella Ryder, Dulcie Sharpe & Rhonda Sharpe.

Yarrenyty Arltere is an art centre located in the Larapinta Valley Town Camp in Mparntwe / Alice Springs that supports many artists and community members across diverse artforms and practices. Tjip Tjip: Little Birds Talking Story showcases the weaving, sculpture, painting and fabric practices of the Yarrenyty Arltere artists: ‘Every day when we sew, we tell story with each other. We talk remembering story, olden day story, and we talk stories that help us to work out problems. Like the little birds on these tins, up and down, same as us coming every day to the art room, and ‘tjip tjip’, talking together.’

This project is supported by the Burton Family Foundation and IOTA Ambassadors

Exhibition continues until 29 September 2024.

Portrait photo of Rhonda Sharpe and Rosabella Ryder by Ezra Alcantra
Group photo of Yarrenyty Arltere Artists
Exhibition installation photos
Rhonda Sharpe holding a Tjip Tjip

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@yarrenyty__arltere @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial

ARTIST FEATURE: Ari Bayuaji
Bali, Indonesia and Montreal, Canada

Weaving the Ocean, 2024 woven plastic, cotton thread, dimensions variable

Intervening with cycles of process, use and disposal, Ari Bayuaji harvests oceanic plastic waste from around his home in Bali to create new woven forms. His large-scale installation references domestic dwellings and considers the role a ‘home’ plays in our interaction with the environment.

In thinking about the initial stages of this work, Ari has said “The work began with the idea of replacing vanishing natural materials with new ‘natural’ materials that can be found easily. One day I discovered an abundant supply of plastic ropes tangled in the roots of mangrove trees near Sanur on the coast of Bali. This discovery led me to use the plastic threads as material for weaving. Plastic is so abundant in our environment these days that it has essentially become a major element of the natural world.”

Represented by Mizuma Gallery, Tokyo / Singapore. @mizumaartgallery
Supported by IOTA24 Ambassadors

Exhibition continues until 29 September 2024.

Portrait photo by Ezra Alcantra

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@aribayuaji @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial
#weavingtheocean

ARTIST FEATURE: Fatemeh Boroujeni
Whadjuk Boodja / Western Australia

Shirzan, 2024 cedar wood, oxidised copper, natural hair, video and sound, dimensions variable

At the centre of Shirzan sits a series of carved wooden lionesses: a tribute to the heroines who lead and have died for the Women, Life, Freedom Movement in Iran, the artist’s birthplace. This movement was ignited with the death of Mahsa Amini at the hands of Iran’s morality police and has since turned into a revolutionary movement. These stories are told through anecdotal descriptions of the lives lost, capturing their sheer courage which has been otherwise historically omitted. A mixture of traditional and modern symbols adorns each lioness sculpture, which correlates to the video work that explains each symbol, along with commentary by the artist on the emotional and historical context behind her work.

This project is assisted by the WA Department of Local Government, Sport & Cultural Industries and IOTA Ambassadors. Shirzan is a multimedia installation that combines traditional craft mediums with video and sound, in collaboration with Steven Hughes.

Exhibition continues until 29 September 2024.

Portrait photo by Ezra Alcantra

This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil

@fatemeh.boroujeni @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial #shirzan

Curtin Campus Art Collection Update! - Bentley

Lou Lambert’s Astarte, 1975, has moved!
This sculpture recently had to be relocated from Building 408 for building works, but we found a new home for it in the Medical School – so anyone keen to check it out should visit Building 410. You’ll find it on the stairs landing between level 1 and level 2 and it looks great in its new spot.

Lou Lambert is a WAIT (Curtin) alumni; and former Lecturer of the University’s (then) School of Fine Art. Lambert also worked as an assistant to British sculptor Phillip King in London; was the recipient of a Visual Arts Board of Australia Council Fellowship (1990); and has exhibited widely around Australia and internationally. His work is held in major public and corporate collections.

Astarte is from the earlier period of Lambert’s career, when he was inspired by geometry and form, before moving towards works created from earthier, natural elements.

An example of the latter, Loco Form, c. 1982, can be seen in the Creative Quarter - outside Building 208 here at Curtin’s Bentley campus. There is another of Lambert’s large sculptural works installed on campus - Shiki Nami, 1976. Have you seen it?

@curtinuniversity @curtin_mcasi @curtinbfagrads @curtin.humanities @curtinalumni @curtinlifeaustralia @explore_curtin #curtinmedicalschool #publicart #campusart #sculpture #loulambert