News & Media
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
Open
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
Open
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
Open
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
Open
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
Open
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
Open
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
Open
Tuesday – 10th Sep 2024, 1pm
Library Art Tour
Visit the TL Robertson Library at Curtin’s Bentley Campus and learn about a selection of artworks on display from the Curtin University Art Collection.
Guided by one of John Curtin Gallery’s Collection Officers, and artist Mikaela Miller. This is an excellent opportunity to view a diverse cross section of large- and small-scale works, of many different mediums, by Curtin staff and Alumni, and national or internationally acclaimed artists alike.
Starting at The T L Robertson Library. Meet on Level 2 in the atrium.
What participants can bring: comfortable walking shoes.
The library has elevators servicing all levels – but there will be walking and standing around required on each level.
Duration: Approx. 1hr
Photo by Frances Andrijich.
To register, see link in BIO or visit: https://events.humanitix.com/curtin-library-art-tour
@curtinuniversity @curtinalumni @curtinuniversitylibrary @curtinmakers @explore_curtin
Open
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
Open
ARTIST FEATURE: Rudi Hendriatno
Di Yogyakarta, Indonesia
The Last Fate Machine, 2016-2018, teak wood, 450 x 200 x 450 cm. Private Collection of Konfir Kabo
Rudi Hendriatno uses only natural wood to build sophisticated machines through an intuitive process. He is equally logical and imaginative, considering physics and mathematics but also the pleasure of play within broader meaning.
To many viewers’ surprise, Rudi’s process does not involve a great deal of planning or theoretical design: “Artistically what I want in a work is that it can be moved/stimulated. To make this happen I don’t start with a design process using supporting media such as paper or computers and so on, but I tend to improvise every formation of the movement patterns as I work. This is because I believe that an artistic practice is not always linear or developed in stages as in theory.”
Portrait photo by Ezra Alcantra
This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil
@rudihendriatno @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial
Open
ARTIST FEATURE: Anne Samat
Kuala Lumpur, Malaysia
I Learned from the Best (I Didn’t Know My Own Strength), 2024 rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments, handwoven tapestry, 609 x 360 x 304 cm
Anne Samat employs the Southeast Asian art of Pua Kumbu weaving and adds humble goods from dollar stores to construct brightly coloured totemic works. Her work embodies personal stories: each sculpture is inspired by a different family member, the figures of a mother and daughter making a regular appearance. Everyday trinkets and cultural markers blend seamlessly with Samat’s intricate weavings to produce a family mythology that transcends time and geography.
Due to freight delays, Anne’s work was not installed for our opening weekend. So, If you had visited at that time, we encourage you to return to JCG for a second visit to view Anne’s intricate and deeply biographical weavings.
Represented by MARC STRAUS. @marcstrausgallery
Supported by MyCreative Ventures Group, Malaysia
Portrait photo by Ezra Alcantra
This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil
#AnneSamat @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial
Open
IOTA24 Codes in Parallel opened just over a week ago and we would like to extend our many thanks to all who came.
Stay tuned for our various events, talks and panel discussions via the Link in BIO or by visiting our website curtin.edu.au/jcg
Exhibition continues until 29 September 2024.
…………..
We’d love to hear your thoughts! Please take a moment to complete our survey to help us improve our events – Link in BIO
…………..
This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil
Images by Ezra Alcantra
@Crafttriennial#IOTA24 #crafttriennial#IndianOceanCraftTriennial #CraftTriennial #CraftCulture #WesternAustralia #IndianOceanRegion #CulturalFusion #Handcrafted #Inspiration @universityartmuseumsaustralia @curtindbe
Open
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
Tuesday – 10th Sep 2024, 1pm
Library Art Tour
Visit the TL Robertson Library at Curtin’s Bentley Campus and learn about a selection of artworks on display from the Curtin University Art Collection.
Guided by one of John Curtin Gallery’s Collection Officers, and artist Mikaela Miller. This is an excellent opportunity to view a diverse cross section of large- and small-scale works, of many different mediums, by Curtin staff and Alumni, and national or internationally acclaimed artists alike.
Starting at The T L Robertson Library. Meet on Level 2 in the atrium.
What participants can bring: comfortable walking shoes.
The library has elevators servicing all levels – but there will be walking and standing around required on each level.
Duration: Approx. 1hr
Photo by Frances Andrijich.
To register, see link in BIO or visit: https://events.humanitix.com/curtin-library-art-tour
@curtinuniversity @curtinalumni @curtinuniversitylibrary @curtinmakers @explore_curtin
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
ARTIST FEATURE: Rudi Hendriatno
Di Yogyakarta, Indonesia
The Last Fate Machine, 2016-2018, teak wood, 450 x 200 x 450 cm. Private Collection of Konfir Kabo
Rudi Hendriatno uses only natural wood to build sophisticated machines through an intuitive process. He is equally logical and imaginative, considering physics and mathematics but also the pleasure of play within broader meaning.
To many viewers’ surprise, Rudi’s process does not involve a great deal of planning or theoretical design: “Artistically what I want in a work is that it can be moved/stimulated. To make this happen I don’t start with a design process using supporting media such as paper or computers and so on, but I tend to improvise every formation of the movement patterns as I work. This is because I believe that an artistic practice is not always linear or developed in stages as in theory.”
Portrait photo by Ezra Alcantra
This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil
@rudihendriatno @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial
ARTIST FEATURE: Anne Samat
Kuala Lumpur, Malaysia
I Learned from the Best (I Didn’t Know My Own Strength), 2024 rattan sticks, kitchen and garden utensils, beads, ceramic, metal and plastic ornaments, handwoven tapestry, 609 x 360 x 304 cm
Anne Samat employs the Southeast Asian art of Pua Kumbu weaving and adds humble goods from dollar stores to construct brightly coloured totemic works. Her work embodies personal stories: each sculpture is inspired by a different family member, the figures of a mother and daughter making a regular appearance. Everyday trinkets and cultural markers blend seamlessly with Samat’s intricate weavings to produce a family mythology that transcends time and geography.
Due to freight delays, Anne’s work was not installed for our opening weekend. So, If you had visited at that time, we encourage you to return to JCG for a second visit to view Anne’s intricate and deeply biographical weavings.
Represented by MARC STRAUS. @marcstrausgallery
Supported by MyCreative Ventures Group, Malaysia
Portrait photo by Ezra Alcantra
This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil
#AnneSamat @crafttriennial #IOTA24 #crafttriennial #IndianOceanCraftTriennial
IOTA24 Codes in Parallel opened just over a week ago and we would like to extend our many thanks to all who came.
Stay tuned for our various events, talks and panel discussions via the Link in BIO or by visiting our website curtin.edu.au/jcg
Exhibition continues until 29 September 2024.
…………..
We’d love to hear your thoughts! Please take a moment to complete our survey to help us improve our events – Link in BIO
…………..
This exhibition has been made possible with the support of @curtinuniversity @lotterywest @deptlgsc @creative.australia @ausculturalfund #centreforaustraliaindiarelations #australiaaseancouncil
Images by Ezra Alcantra
@Crafttriennial#IOTA24 #crafttriennial#IndianOceanCraftTriennial #CraftTriennial #CraftCulture #WesternAustralia #IndianOceanRegion #CulturalFusion #Handcrafted #Inspiration @universityartmuseumsaustralia @curtindbe
