WOVEN 2017 by Australian Tapestry Workshop

2017

Cover: Work in progress, Morning Star, 2017, Lyndell Brown and Charles Green, woven by Pamela Joyce, Leonie Bessant, Chris Cochius, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 2.5m x 5.04m. Photograph: Jeremy Weihrauch.

Our year in review... The Australian Tapestry Workshop (ATW) is regarded as an international centre of excellence for innovative, contemporary, hand-woven tapestries, created in collaboration with leading artists, architects and designers. It is the only workshop of its kind in Australia and one of a few in the world dedicated to the production of hand-woven tapestries. Over 40 years the ATW has woven more than 500 tapestries ranging from tiny to monumental. Most tapestries are specially commissioned and hang in significant public and private collections.

Established in 1976, the Australian Tapestry Workshop is a not-for-profit company managed by an independent board of directors. It derives its income from tapestry commissions, sales and an annual grant from the Government of Victoria. It also receives important philanthropic support from the Tapestry Foundation of Australia and other philanthropic bodies. Our mission is to ensure that our specialist creative weaving skills are kept alive and thriving through the creation of handmade contemporary tapestries in Australia. As resurgence in the art of contemporary tapestry continues to grow worldwide, the ATW remains deeply committed to its role as an international leader. PATRON

Baillieu Myer AC BOARD

John Ridley, Chairman Lisa Newcombe Pro Vice Chancellor Su Baker Peter Bancroft OAM Matt Biernat Karl Fender OAM Emeritus Professor Kay Lawrence AM Bob Nation AM Lynn Rainbow Reid AM Antonia Syme (Secretary)

STAFF ADMINISTRATION

Antonia Syme – Director Jenny Port – Finance and Administration Manager (to August 2017) Rebecca Jobson – Finance and Administration Manager (from October 2017) Josphine Briginshaw – Development Coordinator Adriane Hayward – Public Programs Coordinator to August 2017) Sophia Cai – Public Programs Coordinator (from August 2017) Alime Adieva – Accountant Xanthe Dobbie – Front of House and Social Media Officer Josephine Mead – Front of House PRODUCTION

Leonie Bessant Chris Cochius Pamela Joyce Jennifer Sharpe Cheryl Thornton Sue Batten – Head of Weaver Training Tony Stefanovski – Dyer Karlie Hawing – Weaver Intern Leith Maguire – Weaver Intern Sophie Morris – Weaver Intern

TAPESTRY FOUNDATION OF AUSTRALIA

The Tapestry Foundation of Australia (TFA) was established in 1995 to support and promote the development of contemporary tapestry. Amongst the TFA’s many achievements is the funding of the Embassy Tapestry Collection that commissions tapestries designed by Indigenous artists for long term display in Australian Embassies and High Commissions around the world. TRUSTEES AND EXECUTIVE COMMITTEE

Baillieu Myer AC, Emeritus Trustee Arnold Hancock OBE, Emeritus Trustee Janet Calvert-Jones AO, Chairman Samantha Baillieu AM, Trustee David Pitt, Trustee Anne Robertson, Trustee Dr Fiona Caro Peter Walsh

Australian Tapestry Workshop 262 – 266 Park Street South Melbourne Victoria Australia 3205 Telephone +613 9699 7885 www.austapestry.com.au

From the Director 03 Making Morning Star: Lyndell Brown and Charles Green 04 NextGen: Weaver Interns 08 Guan Wei: Treasure Hunt 10 Body and Cloth: Performing Textiles AsiaTOPA 14 Janet Laurence: Listen, to the sound of plants 16 John Wardle Architects: Perspectives on a flat surface 20 Justin Hill: 22 Temenggong Road Twilight 24 Curtain Call — Tapestries in Performing Arts Centres 26 Artists in residence 28 Kate Derum and Irene Davies Award for Small Tapestries 28 Making Connections 32 Pae White: Hancock Fellow 34 At the Workshop 36 Join the Friends of the ATW 38 Give an inch: Donate 39 Thank You 40 AUSTRALIAN TAPESTRY WORKSHOP

ANTONIA SYME DIRECTOR, AUSTRALIAN TAPESTRY WORKSHOP SEPTEMBER 2017

FROM THE DIRECTOR:

Welcome to Woven, our new annual magazine. 2017 has been a very exciting year for ATW and Woven highlights the range of events, exhibitions, and of course, handmade tapestries produced by ATW over the past 12 months. We created a beautiful tapestry designed by Janet Laurence, and we have two more tapestries underway on the loom – Guan Wei’s Treasure Hunt and Morning Star by Charles Green and Lyndell Brown. Morning Star will be finished in December for the opening of the new Sir John Monash Centre in VillersBretonneux, France in April 2018. We celebrated our 40th anniversary with the launch of our book Many Hands: The First 40 Years of the Australian Tapestry Workshop at Government House in December 2016. Published by Harper Collins, this beautiful publication of 130 pages features key tapestries and artists with whom we have collaborated over four decades and includes international activities, outreach projects and commissions. This book was supported by the Tapestry Foundation of Australia (TFA) to celebrate our wonderful tapestries and to recognise all the marvellous people who helped make this possible. For 40 years the ATW has played an exemplary role in integrating the at-times differing sensibilities of contemporary visual arts, crafts, architecture and design through imaginative expression of the professional interaction that is possible between them. We are proud to have achieved an international reputation as a leading centre of excellence in the art of handmade contemporary tapestry.

Left to right: Colour samples for the 22 Temenggong Road, Twilight tapestry designed by Justin Hill. Photograph: ATW. Antonia Syme. Photograph: John Gollings.

As part of our commitment to ensuring the long-term sustainability of contemporary tapestry, ATW instigated a new Weaver Intern program in October 2016 with the assistance of the Pratt Foundation and the Annual Fundraising Appeal through the TFA. From a diverse pool of 68 applications across the world, we were thrilled to select our first three Weaver Interns: Karlie Hawking, Leith Maguire and Sophie Morris, who are now learning the intricate art of making tapestries over a 24 month period. The internships create important opportunities for a new generation of weavers to gain experience in a close-knit creative environment. Your donations to the ATW make this possible! As I write, our three interns are currently at Dovecot Studios in Edinburgh, Scotland for three weeks of creative exchange. Upon their return, they will continue to weave experimental samples before working on a new tapestry designed by Justin Hill, winner of the Tapestry Design Prize for Architects (TDPA). It has been exciting to see their progress and I look forward to seeing them start work on their first large tapestry. The TDPA has been a very successful program at ATW. Launched in 2015 as a partnership with Architecture Media, the Tapestry Foundation of Australia and Creative Partnerships Australia — this prize invites architects, designers and architecture students to design an ambitious tapestry for a hypothetical site. In 2015 the joint first prize went to John Wardle Architects for the design concept Perspectives on a Flat Surface and KGA Architecture (Kristin Green) and Michelle Hamer for their design Long Term Parking. In 2016, for its second year, the TDPA received an astounding 117 entries from 76 entrants from around the globe, with the prize going to Justin Hill for his captivating design 22 Temenggong Road, Twilight.

We also held the Kate Derum and Irene Davies Awards for small tapestries. 59 artists from 14 countries were selected as finalists for the $5000 Kate Derum Award and 22 artists from 7 countries for the $1000 Irene Davies Emerging Artists Award. The quality of entries was very high with Ema Shin’s tapestry Soft Alchemy (Lily) taking out the Kate Derum Award and UK weaver Hannah Waldron being awarded the Emerging Artists Award for her tapestry To Houshi Onsen. Collaboration lies at the heart of what we do, and our dynamic 2017 calendar included many opportunities for artistic engagement. Our Artist-in-Residence program continues to attract talent from Australia and worldwide, and this year’s program saw 11 artists selected from 79 applications. We also had a chance to work with 11 artists from Australia and the Asia-Pacific for the exhibition ‘Body and Cloth: Performing Textiles’ — exhibited at the ATW in association with the inaugural Asia TOPA festival (Asia-Pacific Triennial of Performing Arts). Last but certainly not least, ATW continued to present a number of exciting events and programs for the public. This includes our popular weaving classes, the ‘Sound and Colour’ live performance series in collaboration with the Emerald Hill Cultural Precinct arts organisations, as well as opening our doors on the weekend as part of Open House Melbourne. This year’s Open House saw our biggest audience to date. It is a pleasure to share our exciting year’s activities with you, and we look forward to welcoming you in South Melbourne in 2018.

AUSTRALIAN TAPESTRY WORKSHOP

MAKING MORNING STAR:

LYNDELL BROWN AND CHARLES GREEN Morning Star is a significant new tapestry designed by prominent Australian artists Lyndell Brown and Charles Green for the new Sir John Monash Centre (SJMC) near Villers-Bretonneux, France. Work on the tapestry commenced in April 2017 and it is expected to take 4000 weaving hours to complete ahead of the opening of the SJMC on 24th April 2018.

Left to right: Work in progress, Morning Star, 2017, Lyndell Brown and Charles Green, woven by Pamela Joyce, Leonie Bessant, Chris Cochius, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 2.5m x 5.04m. Photograph: Jeremy Weihrauch Artists Charles Green and Lyndell Brown delivering an artist talk at ATW. Photograph: Tim Oâ&#x20AC;&#x2122;Connor.

It is a great privilege to weave this commemorative tapestry for the SJMC. Named in honour of General Sir John Monash, who led the Australian Corps on the Western Front in 1918, including the famous 4 July 1918 victory at Le Hamel, the Centre will create an emotional and informative experience for visitors of all nationalities. It will form the central hub of the existing Australian Remembrance Trail along the Western Front, which links First World War sites of significance to Australia, including museums, battlefields, memorials and cemeteries. SJMC will provide a lasting legacy commemorating the 46,000 Australian lives lostâ&#x20AC;¨in the battles of the Western Front in World War 1 and the Centenary of ANZAC.

AUSTRALIAN TAPESTRY WORKSHOP

1 Morning Star, tapestry design by Lyndell Brown and Charles Green. Courtesy the artists. 2 Weavers Jennifer Sharpe and Pamela Joyce with Weaver Interns Karlie Hawking and Leith Maguire raising the bobbins on Morning Star, 2017. Photograph: Jeremy Weihrauch.

Lyndell Brown and Charles Green have been war artists in Iraq and Afghanistan and have had over 30 exhibitions in Australia and internationally. There is also a personal connection to this project, as Green’s grandfather was one of those WW1 Australian soldiers at the Western Front, who was badly wounded and invalided on these battlefields. As the artists explain, the tapestry seeks to evoke a range of linked experiences: Just as the SJMC provides both Australian and non-Australian visitors with an understanding of the impact of Australia’s involvement on the Western Front through an engagement with the places in which the Australians fought and the experiences of those who were there, so this tapestry aims to communicate to non-Australians and to Australian pilgrims an understanding of the places for which the Australians fought and the imaginary spaces that they carried with them. The overall image of the tapestry is dawn light during winter illuminating a pathway through eucalypt trees and bush towards sunlight. The inset images are a combination of departures to war by ship from Australia punctuated by visual comments such as snaps of these young men including those who were about to enlist. The artists deliberately chose to make these images almost monochromatic since it seemed to them that the weavers at ATW demonstrate subtle virtuosity in translating tonal images with precise grey ranges into tapestry. The resulting tapestry is an evocative and impressive work that highlights personal narratives of the battlefield.

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Morning Star is generously supported by the Tapestry Foundation of Australia in partnership with a number of generous donors including: Australian Hotels Association, ANZAC Centenary Arts and Culture Fund, Calvert-Jones Family, Anne and Mark Robertson OAM, Baillieu Myer AC and Sarah Myer, Marjorie M. Kingston Charitable Trust, Chasam Foundation and the Yulgibar Foundation. A Friends of the ATW Lecture ‘Making Morning Star’ was held on 20 July 2017 with artists Lyndell Brown and Charles Green discussing their experience as official war artists and also the process behind their design. Another lecture will be held in late 2017 focusing on the life and legacy of Sir John Monash with speakers Michael Headberry of the Saluting Monash Council. Last but not least, a significant and exciting exchange between the world’s oldest and youngest tapestry workshops will occur in November when Pierre Bureau a weaver from Manufacture des Gobelins in Paris travels to ATW to work on Morning Star — made possible with funding from the Department of Foreign Affairs and Trade’s Cultural Fund and the Tapestry Foundation of Australia. ATW

NEXT GEN:

WEAVER INTERNS

Weaver Interns (left to right) Karlie Hawking, Leith Maguire and Sophie Morris inking on. Photograph: Jeremy Weihrauch.

AUSTRALIAN TAPESTRY WORKSHOP

Traning samples woven by Weaver Interns (top to bottom) Karlie Hawking, Leith Maguire and Sophie Morris. Photograph: ATW.

In October 2016 the ATW instigated a new Weaver Intern program. These internships create opportunities for arts or design graduates to gain experience and training in weaving contemporary tapestries in a collaborative team environment, as well as establishing a clear career path for professional artist-weavers. From 68 applications across the world we are thrilled to have appointed our first three Weaver Interns: Leith Maguire, Karlie Hawking and Sophie Morris, who are now learning the varied and intricate art of tapestry production. Support for training the next generation of tapestry weavers in Australia is crucial for the long-term sustainability of the ATW; it is vital that our senior weavers have the opportunity to pass on their expert skills to the next generation of weavers. This program is made possible by the generosity of The Pratt Foundation and the Annual Fundraising Appeal through the Tapestry Foundation of Australia. Our three interns are currently weaving their sixth series of samples, experimenting with different techniques and colours for their upcoming tapestry, 22 Temenggong Road, Twilight, designed by Justin Hill and winner of the 2016 Tapestry Design Prize for Architects. Five months into their internship, Karlie Hawking, Leith Maguire and Sophie Morris were interviewed about their experiences at the ATW. They were asked several questions including – what tapestries have you been working with?; within a broader contemporary art context, what do you see for the future of tapestry production?: what most excites you about the tapestry weaving?; and what are you most looking forward to in your career as a weaver? ATW DOVECOT STUDIOS WEAVER EXCHANGE As part of their internship the Weaver Interns travelled to Dovecot Studios in Edinburgh for three weeks for the third Dovecot Studios and ATW Weaver Exchange program supported by the TFA’s Myer Scholarship. This exciting exchange is designed to raise the profile of contemporary tapestry weaving by fostering talent, building relationships and sharing knowledge. In exchange, Dovecot weaver David Cochrane will travel to ATW in October 2017 for several weeks working with our weavers on the Sir John Monash Centre tapestry, Morning Star.

‘Short of shearing the sheep, you’re pretty involved in every single part of the making. You do everything – mixing of the colours, setting of the warp, to interpreting the image.’ Karlie Hawking ‘One of the nicest things for me working here is just sharing ideas with like-minded people. That collaborative element of the ATW is something that I really look forward to continuing into the future with artists and weavers.’ Leith Maguire ‘It’s been a fantastic few months learning under master weavers Sue Batten and Joy Smith. Every week we learn something different that we think is going to be impossible to achieve and then we achieve it.’ Sophie Morris

TREASURE HUNT

Commissioned by ATW to celebrate its 40th anniversary, Treasure Hunt is a 3.6m long tapestry designed by renowned Chinese-Australian artist Guan Wei. The tapestry design takes inspiration from a large painted mural that the artist completed in 2006 for the exhibition ‘Other Histories’ at the Powerhouse Museum in Sydney. The final design reflects aspects of both Indigenous and colonial culture, together with references to Chinese history and ancestry. Through a depiction of oceans, imagined islands and desert interiors, this striking work makes reference to migration, exploration and the influence of globalisation from an Australian perspective. Guan Wei’s initial inspiration for the ‘Other Histories’ mural was one of the Powerhouse Museum’s most mysterious objects: a small figure of the Chinese God of Longevity unearthed in Darwin in 1879. The Museum acquired a plaster cast of the object in 1889 and the original in 1950. From the time of its discovery, the figure has been the subject of much speculation, with historians suggesting that it may be evidence of the arrival of a Chinese vessel from the voyages of great admiral Zheng He in the early 15th century, more than 350 years before James Cook landed at Kurnell or the earlier Dutch exploration and mapping. The legendary admiral led a fleet of ‘treasureships’ and, from 1405 to 1433, made a series of official voyages to faraway lands collecting rare spices, treasures and exotic animals for the Emperor of China.

Detail of work in progress, Treasure Hunt, 2017, Guan Wei, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 0.864m x 3.6m. Photograph: Jeremy Weihrauch.

AUSTRALIAN TAPESTRY WORKSHOP

Guan Wei

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Treasure Hunt represents the flora and fauna Zheng He might have seen on his travels, including sea monsters drawn from Chinese and European mythology with land shapes referencing 14th century Chinese maps. By presenting ‘Other Histories’ Guan Wei said: It has been my aim to subvert a singular ideological approach and encourage free-form imagining. I sincerely hope that the ‘other’ history inherent in my own version of the story of Zheng He’s fleet will encourage people from different racial and cultural backgrounds to connect with one another... and live together in harmony.1 Over the last three decades Guan Wei has developed an international reputation as a contemporary artist whose work crosses cultural and political borders, specifically between Australia and Asia. A Chinese artist who migrated to Australia in 1989, his practice draws on his experience of living between Chinese and Australianculture, as well as a socio-political awareness of art history. His prolific creative output has consistently examined complex social issues underpinned by humility and a deep respect for humanity. ATW

1 Work in progress, Treasure Hunt, 2017. Photograph: Jeremy Weihrauch. 2 ATW weavers working on Treasure Hunt, 2017. Photograph: Jeremy Weihrauch. 3 Artist Guan Wei painting a mural for the exhibition ‘Other Histories’ at Powerhouse Museum, Sydney, 2006. Image courtesy the artist and ARC ONE Gallery. 4 Detail of work in progress, Treasure Hunt, 2017. Photograph: Jeremy Weihrauch.

AUSTRALIAN TAPESTRY WORKSHOP

BODY AND CLOTH: PERFORMING TEXTILES AsiaTOPA TROY-ANTHONY BAYLIS: Australia ERIC BRIDGEMAN: PNG/Australia

JOHN BROOKS: Australia ELISA JANE CARMICHAEL: Australia SARAH CROWEST: Australia KATE JUST: Australia EMA SHIN: Japan/Australia SLOW ART Collective: Japan/Australia REIKO SUDO: Japan HIROMI TANGO: Japan/Australia KAWITA VANTANAJYANKUR: Thailand/Australia

‘Body and Cloth: Performing Textiles’ was an exhibition presented at ATW from 17 February to 13 April 2017 as part of the inaugural Asia TOPA festival (Asia-Pacific Triennial of Performing Arts). Bringing together artists from Australia and the Asia-Pacific whose work focuses on the relationship between cloth and the body, the exhibition drew on the rich history of textiles in the Asia-Pacific region and the importance of fibre arts to Indigenous Australian communities, as well as the growing resurgence of contemporary textiles in contemporary artistic practice. The body, and ideas of embodiment, are key issues for these 11 artists who use or make reference to textiles in their practice. In their art, clothing or costume act as an extension of the human form and can construct status, power, gender and identity.

Textiles come in a multitude of forms; they can be cultural objects, decoration or heirlooms; they can also evoke memories and allude to a particular place and time. Many of the artists in ‘Body and Cloth’ exploit the politics that are embedded in textiles by using the medium as a representation of the self, or the embodiment of a character or concept through costume or adornment. As part of the exhibition ATW also held a Friends Forum with invited speakers. Kate Just, Chaco Kato from Slow Art Collective and Sarah CrowEST were joined by moderator Dr Rebecca Coates for a fascinating panel discussion about their works in the exhibition and general ideas around textiles and their use in contemporary art in conjunction with the body and performance. ATW

(Left to right) Kate Just, Sarah CrowEST, Dr Rebecca Coates and Chaco Kato (Slow Art Collective) speaking during ATW Friends Forum as part of ‘Body and Cloth: Performing Textiles’. Photograph: Jeremy Weihrauch.

2/3 ‘Body and Cloth: Performing Textiles’ in situ at the ATW. Photographs: Jeremy Weihrauch.

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JANET LAURENCE:

LISTEN, TO THE SOUND OF PLANTS The ATW worked in collaboration with artist Janet Laurence on an exciting private tapestry commission Listen, to the Sound of Plants. The tapestry design is based on a digital collage of images from Laurenceâ&#x20AC;&#x2122;s extensive archive of plants, mixed with photographs of paint poured across glass to create a layered transparent effect.

AUSTRALIAN TAPESTRY WORKSHOP

Listen, to the Sound of Plants begun in October 2016 and saw weavers Chris Cochius, Pamela Joyce and Cheryl Thornton work to capture the impression of layers and use of transparencies and glass that are hallmarks of Laurence’s work. Translating the reflective surface elements of the design to tapestry form was a particular challenge for this project. By using subtle colour mixing techniques and multiple tones that are very similar in range, the weavers were able to achieve a beautiful soft, watery effect. They selected a wide palette of greens to create this tapestry, including cotton yarns used to highlight particular areas. ATW yarn dyer Tony Stefanovski created a new range of green cotton yarn for this project to achieve specific tones for the weavers’ requirements. Laurence was impressed with the complexity and diversity of the palette. Exploring notions of art, science, imagination, memory, and loss, Laurence’s art examines our physical, cultural and conflicting relationship to the natural world through both site specific, gallery and museum works. Working in various mediums, Laurence creates immersive environments that navigate interconnections between all living forms. For over 30 years her practice has sustained organic qualities and a sense of transience, occupying zones where art, science, imagination and memory converge. ATW

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1 Detail, Listen, to the Sound of Plants, 2016. Photograph: Jeremy Weihrauch. 2 ATW Weaver Pamela Joyce working on Listen, to the Sound of Plants, 2016. Photograph: Jeremy Weihrauch. 3 Artist Janet Laurence. Photograph: Jeremy Weihrauch. 4 Completed tapestry on the loom, Listen, to the Sound of Plants, 2016. Photograph: Jeremy Weihrauch. Previous spread: Listen, to the Sound of Plants, 2016, Janet Laurence, woven by Chris Cochius, Pamela Joyce and Cheryl Thornton, wool and cotton, 1.2m x 2.4m. Photograph: Jeremy Weihrauch.

AUSTRALIAN TAPESTRY WORKSHOP

JOHN WARDLE ARCHITECTS:

PERSPECTIVES ON A FLAT SURFACE

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As a young graduate architect in 1982 I visited the Teatro Olimpico in Vicenza. This remarkable theatre, designed by Palladio in 1550, houses Vincenzo Scamozzi’s trompe l’oeil street scene. Unveiled for the theatre’s opening in 1558, the design is renowned for creating the exaggerated perspective from each of Palladio’s four portals. Upon entering the vacant theatre, the voice of an elderly Italian man, speaking English with an American accent, could be heard reciting the theatre’s history. Initially unseen and then only fleetingly he walked back and forth, along and between Scamozzi’s streets, describing the intentions of its great creators. He began by drawing upon the compositional techniques used for each variant perspective, highlighting how combined they achieve a performative quality within the space, distorting our perceptions of scale and distance. He continued his narrative by describing an additional perception, that of aural shape. Immersing himself within the surroundings, he became a character, projecting his voice in a manner that supported his thesis: that acoustic character is also formed within the confines of a space, lending it a perspective reading of equal value to that perceived visually. This idea was heightened in his closing performance as he walked to the front of the stage ready to engage with us, his audience of two, he looked straight ahead, missing us completely. We realised that this elderly man was in fact blind and his perception acutely aural. We have endeavoured to design a tapestry that emulates this experience by creating additional perspectives within a fixed space. The new Australian Pavilion is the quintessential white cube, a neutral volume, intentionally mute with no pronounced character or proportional bias. The installation of artworks is to provide the experience.

AUSTRALIAN TAPESTRY WORKSHOP

Our proposal for an inaugural tapestry refers to our own exchange between Italy and Australia. A series of sets have been created that reverse Scamozzi’s inverted perspectives, forming a series of picture planes drawn toward the audience. Each multiplies shifting perspectives across one wall whilst allowing another to exaggerate the proportions of the space. The partial views and variant transmissions of light within each inverted chamber suggest a place that is ‘elsewhere’. In rendering this proposal we have suggested fine pixels that we hope translate these ideas into the weft and warp of the tapestry weaver’s fine craft. Our almost complete lack of knowledge of the process of making a tapestry assisted us greatly in the design of our entry for the Tapestry Design Prize for Architects. Had we known more, we may have, in the intense process of developing our proposal, become overwhelmed by the technical skills and artistry of making that we now know much more about. The colour fields that formed our composition have taken shape as countless decisions on this very particular construction process have been made. As the work emerges upwards from its base, the many conversations can be recorded between ourselves and the weavers and staff of the Australian Tapestry Workshop. We have learnt a lot and I think they have been entertained by this process of our further education.’ JOHN WARDLE

John Wardle Architects was one of the joint first prize-winners of the inaugural 2015 Tapestry Design Prize for Architects with their design concept Perspectives on a Flat Surface. This design was commissioned by Sydney philanthropist and art collector Judith Neilson AM to be made into a tapestry. Perspectives on a Flat Surface will eventually hang in Neilson’s new Phoenix Gallery in Sydney. The tapestry was realised after extensive collaboration between John Wardle, Alex Peck and the ATW weavers and dyer. The magnificent tapestry is a celebration of colour and form, and has already been exhibited in Melbourne, Sydney and Brisbane.

1 Judith Neilson AM and John Wardle. Photograph: Jeremy Weihrauch. 2 Perspectives on a Flat Surface, shown at John Wardle Architects 30th Anniversary celebration held at Melbourne School of Design, the University of Melbourne, 2016. Image courtesy John Wardle Architects. 3 ATW Weavers (left to right) Chris Cochius, Jennifer Sharpe, Cherlyl Thornton and Pamela Joyce working on Perspectives on a Flat Surface, 2016. Photograph: Jeremy Weihrauch. Previous Spread: Perspectives on a Flat Surface, 2016, John Wardle Architects, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 1.92 x 3.84m. Photograph: Jeremy Weihrauch.

JUSTIN HILL: 22 TEMENGGONG ROAD TWILIGHT

Launched in 2015 — as a significant partnership with Architecture Media, the Tapestry Foundation of Australia and Creative Partnerships Australia — the Tapestry Design Prize for Architects (TDPA) invites architects, designers and architecture students to design an ambitious tapestry for a hypothetical site. In 2016, for its second year, the TDPA received an astounding 117 entries from 76 entrants from around the globe. The judges included Emeritus Professor Kay Lawrence AM, John Denton, Julie Ewington, Alice Hampson, Kieran Wong and Brian Zulaikha who had the difficult task of selecting the 13 finalists and prize recipients from an imaginative and diverse pool of entries. After much deliberation the ATW awarded the 2016 Tapestry Design Prize for Architects to Justin Hill for his design 22 Temenggong Road, Twilight. An Australian-trained architect living in Singapore, Hill captivated the judges with the beauty and intricateness of his design concept, based on his experience of living in Asia. Of 22 Temenggong Road, Twilight, Hill said:

The subject is my house, where I lived through my 30s and 40s ... The scene is early one evening, taken from an adjusted photograph looking from the garden ... when the luminous blue of the short tropical twilight briefly equalises with the light within the house. Only then is the interior of the house revealed through layers of fraying blinds, window mesh ... The ATW Weaver Interns are working on experimental samples of Justin Hill’s design before commencing work on the full-sized tapestry. ATW

Images left to right: Detail of samples for 22 Temenggong Road, Twilight, 2017, Justin Hill, woven by Weaver Interns Karlie Hawking, Leith Maguire and Sophie Morris, wool and cotton, dimensions variable. Photograph: Jeremy Weihrauch. Architect Justin Hill. Photograph: ATW. Tapestry Design, 22 Temenggong Road, Twilight, 2017. Image courtesy of the artist.

In 2015 the first place award was presented to joint winners John Wardle Architects for the design concept Perspectives on a Flat Surface and KGA Architecture and Michelle Hamer for the design Long Term Parking. See pp. 22–25 The Tapestry Design Prize for Architects will return in 2018. Subscribe to our e-news and follow us on social media for the latest updates.

AUSTRALIAN TAPESTRY WORKSHOP

TAPESTRIES IN PERFORMING ARTS CENTRES 2 1

We are honoured that a significant number of notable ATW tapestries hang in major performing arts centres both in Australia and overseas including in the Sydney Opera House, Arts Centre Melbourne, Melbourne Recital Centre, Aotea Centre (Auckland), and Esplanade Theatres on the Bay (Singapore). The Arts Centre Melbourne is home to three impressive Indigenous tapestries: The Winparrku Serpents (1978) where the spirit of tribal life is captured by Kaapa Djambidjimba, Snake and Water Dreaming (1979) designed by Yala Gibbs Tjungurrayi, and Charlie Tarawa Tjungurrayi’s Tingari Dreaming at Mitukatjirri (1981). It also displays a suite of fine tapestries by Melbourne artist Mary McQueen — a translation of four of her lyrical watercolours.

The Melbourne Recital Centre’s vibrant tapestry, Dulka Warngiid (Land of All) — an interpretation of a painting by seven Aboriginal women from Bentinck Island in the Gulf of Carpentaria — was commissioned by the Hugh DT Williamson Foundation and launched to celebrate the 100th birthday of Dame Elisabeth Murdoch, the Patron of both ATW and Melbourne Recital Centre, at the opening of the Melbourne Recital Centre. In 2000, Jørn Utzon, the Danish architect of Australia’s most distinctive national icon, the Sydney Opera House, was commissioned to oversee a redevelopment of the Opera House’s interior design including the Utzon Room, which now features a grand and dynamic tapestry of his design, Homage to Carl Emmanuel Bach, inspired by CPE Bach’s Hamburg Symphonies as well as Raphael’s painting Procession to Calvary.

In Auckland’s Aotea Centre hangs The Aotea Tapestry designed by New Zealand artist Robert Ellis. Hanging from levels 2 to 4 of the Centre, The Aotea Tapestry measures almost 12 metres in length and took ATW weavers nearly two years to complete. Last but not least, the tapestry Celebration designed by Victorian artist David Larwill is housed within Singapore’s extraordinary Esplanade Theatres on the Bay complex. This tapestry was jointly commissioned by the Victorian Arts Centre Trust and Arts Victoria as Victoria’s official gift to mark the opening of the Esplanade Arts Centre. ATW

1 Sydney Opera House. Homage to Carl Emmanuel Bach, 2003, Jørn Utzon, woven by Cheryl Thornton, Pamela Joyce, Milena Paplinska and Chris Cochius, wool and cotton, 2.67m x 14.02m. 2 Arts Centre Melbourne. The Winparrku Serpents, 1978, Kaapa Djambidjimba, woven by Sue Carstairs, Alan Holland, Kathy Hope, Andrea May, Cheryl Thornton, Irja West, wool and cotton, 2.52m x 3.96m. 3 Aotea Centre, Auckland. The Aotea Tapestry, 1989, Robert Ellis, woven by Chris Cochius, Irene Creedon, Anne Kemp, Marete Tingstad, Iain Young and Irja West, wool and cotton, 11.5m x 6.4m. 4 Arts Centre Melbourne. The Pavilion Suite: a suite of four tapestries, 1984–87, Mary McQueen, woven by Iain Young, Pamela Joyce, Sonja Hansen, Jo Mills, wool and cotton, each tapestry 1.83m x 3.35m.

5 Melbourne Recital Centre. Dulka Warngiid (Land of All), 2007, Sally Gabori, Amy Loogatha, Netta Loogatha, May Moondoonuthi, Dawn Naranatjil, Paula Paul, Ethel Thomas, woven by Rebecca Moulton, Cheryl Thornton, Amy Cornall, wool and cotton 1.95m x 6.1m. 6 Esplanade Theatres on the Bay, Singapore. Celebration, 1999, David Larwill, woven by Georgina Baker, Sue Batten, Irja West and Merrill Dumbrell, wool and cotton, 2.85m x 4m. Photographs: John Gollings.

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AUSTRALIAN TAPESTRY WORKSHOP

One of the ATW’s key areas of focus is collaboration, and it is in this spirit that the Artist in Residence (AIR) program has been developed. The purpose of the residency is to encourage a rich cultural exchange between contemporary artists and ATW weavers. The program, open to artists at any stage in their career, gives them a unique opportunity to spend time working at ATW with access to our specialist resources and materials. As part of their residency, all AIR artists are invited to give a talk about their practice to the public. For 2017, eleven artists were selected from a highly competitive pool of 79 national and international applicants.

ARTISTS IN RESIDENCE Following the completion of their residency, all AIR artists are offered the opportunity to exhibit together the following year. The ATWAIR16 exhibition this year included 2016 artists Aliça Bryson-Haynes and Lizzy Sampson, Andrei Davidoff, Anna Dunnill, Cat Poljski, Claire McArdle, Clementine Barnes, Eva Heiky Olga Abbinga, HANDMADE LIFE, Jennifer Goodman, John Brooks, Kirsty Macafee, Louise Meuwissen, Martha Poggioli, Penelope Hunt and Sera Waters.

GINA ROPIHA is a New Zealand-born artist of mixed Maori heritage whose artistic practice engages with traditional hand making practices.

DREW PETTIFER is a Melbourne-based artist and academic whose work explores ideas of intimacy, gender and sexuality.

DEBRA PORCH is a Queensland-based artist who examines questions of the everyday and the relationship between ‘real’ and ‘imagined’.

FREŸA BLACK

ELENA REDAELLI

is an emerging artist whose practice explores ways that art can communicate and share subjective feelings and experiences.

is an Italian-born, Norway-based artist who creates site-specific sculptures and installations inspired by nature and place.

EMMA GREENWOOD

CARLY SNOSWELL

is a Melbourne-based shoemaker who

is an emerging artist from South Australia working predominantly with installation and textile practice with an interest in the gendered and laborious forms of craft-making.

combines traditional leatherwork skills with a contemporary sensibility to create unique footwear and accessories.

JENNIFER MCCAMLEY

SUPERPLEASED

is a cross-disciplinary artist whose work engages with legacies of modernism and a wide range of topics including psychoanalysis, literature and feminism.

is the collaborative studio practice of artists Sue Buchanan and Eli Giannini. Their work focuses on urban environments and ecology.

CHRIS O’BRIEN

ZILVESTER

is a Melbourne-based artist who uses a mix of mediums to depict domestic dwellings and personal narratives.

is the collaborative name for artists Sharon Goodwin and Irene Hanenbergh, known for their imaginative and meticulously rendered drawing and painting practices.

AUSTRALIAN TAPESTRY WORKSHOP

KATE DERUM AND IRENE DAVIES AWARDS FOR SMALL TAPESTRIES

WINNER: KATE DERUM AWARD — Ema Shin, Soft Alchemy (Lily), 2017

The ATW is proud to present the biennial Kate Derum and Irene Davies Awards for small tapestries – the most prestigious awards of their kind in Australia. The Kate Derum Award — established by the TFA and ATW to honour Kate Derum’s memory and her significant contribution as a former ATW deputy director and weaver and generously supported by Susan Morgan — is open to all professional Australian and international tapestry artists. The Irene Davies Emerging Artist Award, supported by Alayne and Alan Davies in memory of their mother and tapestry enthusiast Irene Davies, is open to all emerging tapestry artists within five years of the beginning of their practice. This year saw strong entries from artists around the world, many entering for the first time. The 2017 winner of the Kate Derum Award, selected from 59 finalists from 14 countries, is Australian artist Ema Shin with her work Soft Alchemy (Lily). Originally from Japan, Shin has been living and working in Melbourne since 2009. Her relationship with ATW began in 2012 when she took part in the Artist in Residence program and became fascinated with tapestry weaving.

In the five years since, Shin’s work has demonstrated complex technical handling and skilful mastery of tapestry methods and techniques, while applying her unique approach to human anatomy and its relationship with the natural environment. Soft Alchemy (Lily) continues Shin’s interests in the female body and its correlation with floral motifs. Selected from a pool of 22 finalists from seven countries, UK weaver Hannah Waldron was awarded the Irene Davies Emerging Artist Award for her tapestry To Houshi Onsen. An outstanding work with a distinctive graphic style, To Houshi Onsen was inspired by the artist’s travels to a remote hot spring spa in Japan and visually maps her memory of place and sensory experiences into woven form. Cresside Collate was awarded a High Commendation for her tapestry Garden in the Kate Derum Award and two High Commendations were awarded for the Irene Davies Award, Munaw Poe (Australia) for her tapestry Freedom and Ingrida Ivane (Latvia) for her tapestry Impatience. ATW

WINNER: IRENE DAVIES WARD — Hannah Waldron, To Houshi Onsen, 2015

3 1 Kate Derum Award Highly Commended: Cresside Collette, Garden, 2017, cotton warp, wool, cotton, synthetic weft, 30 x 30 cm. 2 Irene Davies Award Highly Commended: Munaw Poe, Freedom, 2017, cotton and acrylic, 21.5 x 28.5 cm. 3 Irene Davies Award Highly Commended: Ingrîda Ivane, Impatience, 2017, wool, cotton, polyester, 22 x 25.5 cm.

Image opposite: Artist Ema Shin working in her studio, 2017. Photograph: Oleksandr Pogorilyi.

AUSTRALIAN TAPESTRY WORKSHOP

The ATW’s lively public program calendar presents engaging ways for people to experience our work, learn about contemporary tapestry through attending classes and lectures, as well as experiencing our wonderful 1885 Victorian-Gothic style building and exhibition spaces. Throughout 2017 the program has grown through events, talks, exhibitions, open days, performances and weekly tours, including a special Tapestry Walking Tour to explore the tapestries on display throughout some of Melbourne’s greatest arts and cultural institutions. ATW also continued to hold regular tapestry weaving classes, master classes, as well as children’s weaving classes in the school holidays. Beyond the walls of the ATW, the creative and therapeutic weaving program ‘Weaving into Wellbeing’ continued to run in partner institutions including the Warrnambool Base Hospital as well as the Royal Prince Alfred Hospital, Sydney.

AM G N I K COCE N : S N O I T EARTH, FIRE, AIR, WATER 1ELEMENTS: Installation view, ‘ELEMENTS: earth, fire, air and water’ exhibition, 2017. Photograph: Jeremy Weihrauch.

Curated by Valerie Kirk, ‘ELEMENTS: Earth, Fire, Air, Water’ was an exhibition at ATW from 17 May to 9 June 2017 featuring small-format hand woven tapestries by ten artists from the United States of America, Australia and the United Kingdom. The artists were each selected by a co-ordinator in each country in order to demonstrate a variety of experiences and approaches in response to the theme. For this international touring exhibition Australian artists were selected from the ACT and NSW.

AUSTRALIAN TAPESTRY WORKSHOP

YEARS 2 40CELEBRATING

ATW weavers, current and previous, gather for the 40th Birthday celebrations, 2017.

Photograph: Jeremy Weihrauch

To coincide with the ‘40 Years of Contemporary Tapestry’ exhibition, ATW celebrated four decades of tapestry creation on 9 February 2017 with a special event. More than 200 guests including wonderful supporters, artists, weavers, guides, volunteers, TFA Trustees, Board Members, and staff past and present joined in the celebration. Following speeches by the Chairman of the ATW Board of Directors Mr John Ridley, ATW Patron Mr Baillieu Myer AC, and ATW Director Antonia Syme, master weaver Sue Batten also delivered a fascinating pop-up talk about experimental tapestry sampling.

EMERALD HILL PRECINCT 3 CULTURAL

LADY AND UNICORN 4 THE

HOUSE MELBOURNE 5 OPEN

The ATW has partnered with a core group of leading arts and cultural organisations that make up the Emerald Hill Cultural Precinct, Recent events include the ‘Sound and Colour Series’, supported by the City of Port Phillip, which presented musical performances by artists from Multicultural Arts Victoria and students from the Australian National Academy of Music playing among the colourful tapestries at ATW. Composers and musicians explored instruments including trumpets, the guzheng, the viola, the kora, percussions and the koto. These free events bring together diverse and stimulating art forms and make for a memorable evening of dazzling music and art.

ATW was proud to present a booked-out

For the fourth consecutive year, the ATW opened its doors to the public on Saturday 29 July 2017 for Open House Melbourne. The open day provided an opportunity for visitors to learn more about the art of tapestry weaving and the history of the ATW heritage building. Special programs included free children’s weaving as well as an artist market showcasing works by ATW Artists-inResidence including handmade artworks, crafts, textiles, jewellery and ceramics. This year’s Open House saw the largest crowds ever!

Emerald Hill Cultural Precinct: Sound & Colour Series. Photograph: ATW.

The Lady and the Unicorn Tapestries lecture by Dr Elisabeth Taburet-Delahaye at ATW, 2016. Photograph: Jeremy Weihrauch.

public lecture by the world-renowned art historian and director of the National Museum of the Middle Ages in Paris (Musée national du Moyen Âge, formerly Musée de Cluny), Dr Elizabeth Taburet-Delahaye on 24 November 2016 about the recent restoration of The Lady and the Unicorn Tapestries. These tapestries form a series of six magnificent wool and silk tapestries created in the 16th century. They are widely regarded to be the most important tapestry series woven in Middle Ages in Europe.

Kids weaving activities at the ATW during Open House Melbourne 2017. Photograph: ATW.

OUT AND 6 ABOUT

Installation view, ‘Freshwater’ exhibition, 2017 at Shepparton Art Museum. Photograph: Zan Wimberley.

Tapestries woven at the ATW continue to be shown in major exhibitions and galleries Australia-wide. The Family Trust tapestry is showing as part of Gareth Sansom’s retrospective at the National Gallery of Victoria (NGV), until 28 Jan 2018. Tapestries were shown in the retrospective, ‘John Olsen: The You Beaut Country’, at the NGV and the Art Gallery of New South Wales. John Wolseley’s Concerning the wading birds of the Warrnambool wetlands was shown at Shepparton Art Museum’s ‘Freshwater’ exhibition. Two other Wolseley designed tapestries were included in a retrospective at Hamilton Art Gallery. John Wardle Architect’s Perspectives on a Flat Surface tapestry exhibited at Tin Sheds Gallery, Sydney and Artisan, Brisbane.

PAE WHITE

HANCOCK FELLOW

The ATW is delighted to announce artist Pae White as the 2017 Hancock Fellow. Pae will also be one of the participating artists in the inaugural NGV Triennial 2017, and the NGV and ATW are working together to hold several public talks by Pae.

The Hancock Fellow, established by the Tapestry Foundation of Australia in 1998 in honour of former Chairman Arnold Hancock OBE, allows opportunities to bring internationally recognised artists, curators and scholars in tapestry, textile and design to visit the ATW and share their expertise through workshops, lectures and exhibitions. The fellowship demonstrates ATW’s commitment to strengthening links with the international arts community while also promoting Australia’s creative talent. Based in Los Angeles, Pae is a multimedia artist best known for her largescale machine-loomed tapestries and immersive site-specific installations in a variety of media. Her practice merges art, design, craft and architecture to create works that transcend the traditional boundaries between these fields. With an international career spanning more than 20 years, Pae has exhibited widely across major institutions and exhibitions with notable high profile projects for the 2009 Venice Biennale and the 2010 Whitney Biennale. Her work is held in numerous collections including the Museum of Modern Art, Tate Modern, the Art Institute of Chicago and the Los Angeles County Museum of Art.

1 2

Pae White will deliver the 2017 Hancock Fellow Lecture on Tuesday 12th December 2017. Contact the ATW for details.

1 Portrait of Pae White. 2 Pae White, Spearmint to Peppermint, 2013, cotton, polyester, 285.5 x 832.2cm. National Gallery of Victoria, Melbourne. Purchased NGV Foundation with the assistance of Donald Russell Elford and Dorothy Grace Elford Bequest, 2016. © Courtesy Pae White and 1301PE, Los Angeles.

AUSTRALIAN TAPESTRY WORKSHOP

ROW A 1 Peter Malatt Jon Clements Karl Fender OAM Vanessa Bird Prof Ken Maher Bob Nation AM 2 Imants Tillers Jenny Slatyer Sally Smart John Young Kate Mizrahi 3 Gareth Sansom Dr Christine Healy OAM 4 Baillieu Myer AC Sarah Myer John Calvert-Jones AM

ROW B 1 Marie Cook Merrill Dumbrell Cresside Collette Sara Lindsay 2 Lynn Rainbow Reid AM Dr Grace Cochrane AM 3 Brigid Brock Jennifer Goodman Dr Greg Goodman 4 Janet Laurence Marc Besen AC Debbie Dadon AO ROW C 1 Antonia Syme The Hon Susan Morgan, Brian Derum Cr Bernadene Voss, Anne Robertson 2 Jill Garner Brian Zulaikha 3 Sue Batten Karlie Hawking Sophie Morris Leith Maguire 4 Susie Santiago Genene Dwyer ROW D 1 Emeritus Prof Kay Lawrence AM Ema Shin Dr Rebecca Coates Dr Kevin Murray 2 Ewan McEoin Sue Curtis 3 Alice Hampson 4 Prof Su Baker John Ridley

AUSTRALIAN TAPESTRY WORKSHOP

AT THE WORKSHOP:

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HELP US KEEP THE ART OF HAND – WOVEN CONTEMPORARY TAPESTRY ALIVE AND THRIVING IN AUSTRALIA.

Due to the intricate process required to create a tapestry, the cost of production starts from $25 per inch. Please support the future of the Australian Tapestry Workshop with a GIVE AN INCH donation through the Tapestry Foundation of Australia.  All donations of $2 and over, are tax deductible.

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JOIN THE FRIENDS OF THE ATW:

Become a Friend of the Australian Tapestry Workshop and take advantage of the following benefits. Your support will help us to maintain the ATW as an international centre of excellence for the creation of innovative contemporary tapestries as well as to produce engaging and informative public programs for you to enjoy.

Benefits Invitations to regular Friend’s Lecture Series featuring diverse and exciting speakers Invitation to the annual ATW Christmas Party Invitations to exhibition openings, talks and special events as well as updates on all forthcoming classes and workshops Our annual magazine WOVEN Our monthly enews 10% Discount at the ATW Store

Please note: the discount is not available via the online store. Free tour of the ATW for you and a guest to discover more about the history of the ATW. ATW Voluntary Guides conduct tours on Wednesdays at 11am and Thursdays at 2pm. Bookings are required, please contact the ATW for further details. Free Gallery and Workshop viewing anytime during gallery hours

Left to right: Friends and supporters of the ATW enjoy the 40th Birthday celebrations.

AUSTRALIAN TAPESTRY WORKSHOP

At the loom, Weaver Interns Karlie Hawking and Leith Maguire. Photographs: Jeremy Weihrauch.

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VOLUNTEERS Guides

AUSTRALIAN TAPESTRY WORKSHOP 2017 MAGAZINE

AUSTRALIAN TAPESTRY WORKSHOP