2018 WOVEN by Australian Tapestry Workshop

2018

Cover: Detail of Treasure Hunt, 2018, Guan Wei, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 0.864 x 3.6m. Photograph: John Gollings.

Our year in review... Founded in 1976, the Australian Tapestry Workshop (ATW) has established an international reputation as a world leader in the production of contemporary hand-woven tapestries. Using the traditional Gobelin weft-faced technique, which dates back to 15th century Europe, all ATW tapestries are woven in-house by our highly skilled weavers using the finest Australian wool dyed on the premises by our specialist dyer. ATW tapestries are renowned worldwide for their inventiveness, vibrancy of colour, and technical accomplishment.

To date the ATW has produced more than 500 tapestries in collaboration with leading Australian and international artists, designers and architects. Our tapestries can be found in major public institutions, embassies, and private collections around the world. In a world where production and creative processes are increasingly automated, the ATW is committed to ensuring that the traditional art form of hand weaving is kept thriving and relevant for contemporary audiences. PATRON

Baillieu Myer AC BOARD

John Ridley AM, Chairman Lisa Newcombe, Deputy Chair Pro Vice Chancellor Su Baker AM 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 Rebecca Jobson – Operations Manager Josephine Briginshaw – Development Coordinator Sophia Cai – Public Programs Coordinator Alime Adieva – Accountant Amelia Dowling – Front of House Josephine Mead – Front of House PRODUCTION

Chris Cochius Pamela Joyce Jennifer Sharpe Cheryl Thornton Sue Batten – Head of Weaver Training Tony Stefanovski – Dyer Karlie Hawking – 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 Janet Calvert-Jones AO, Chairman Samantha Baillieu AM, Trustee until June 2018 David Pitt, Trustee Anne Robertson, Trustee Peter Walsh, Trustee from June 2018

MAGAZINE

Ian Were – Editor

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

From the Director 02 Guan Wei: Treasure Hunt 04 Lyndell Brown and Charles Green: Morning Star 08 Emily Floyd: The Declaration of the Rights of the Child 12 Justin Hill: 22 Temenggong Road, Twilight 14 Tapestry Design Prize for Architects 2018 18 Colour Therapy: Tapestries in Hospitals 24 Artists in Residence 26 Making Connections 28 At the Workshop 30 The Woven Song: Embassy Tapestry Series 32 Vale: Arnold Hancock OBE 33 Join the Friends of the ATW 34 Give an inch: Donate 35 Thank You 36

AUSTRALIAN TAPESTRY WORKSHOP

Above: Tapestry samples and colour strips as part of the COLOUR LAB exhibition at the ATW, 2018. Photograph: Jeremy Weihrauch. Left: Antonia Syme. Photograph: John Gollings.

FROM THE DIRECTOR:

ANTONIA SYME OCTOBER 2018

Welcome to WOVEN 2018, our annual magazine celebrating the exciting exhibitions, events and projects at the Australian Tapestry Workshop (ATW). In these pages you will find some of the major highlights and tapestries from the past 12 months. 2018 began with a very special exhibition of the Morning Star tapestry at the Victorian Shrine of Remembrance. This magnificent tapestry was designed by leading Australian artists Lyndell Brown and Charles Green, and woven by ATW master weavers Pamela Joyce, Leonie Bessant, Chris Cochius, Jennifer Sharpe and Cheryl Thornton. The exhibition at the Shrine gave Melbournebased audiences an opportunity to see Morning Star before it travelled to its permanent home — the Sir John Monash Centre in Villers-Bretonneux in France, which was opened by Prime Minister the Hon. Malcolm Turnbull MP on 24 April 2018. We are so honoured to have Morning Star on permanent display there, to be enjoyed by Australian and international audiences for generations to come.

Our weavers worked on several other major tapestries throughout this year, including Treasure Hunt designed by artist Guan Wei for the occasion of the ATW’s 40th anniversary. Completed in mid-2018, it was shown for the first time in Sydney at the Australian Design Centre as a key work in the exhibition Painting with Thread: Tapestries and Samples from the Australian Tapestry Workshop. ATW weavers also began working on a series of three tapestries for the new Joan Kirner Women’s and Children’s Hospital in Sunshine, Melbourne. Designed by Emily Floyd in her signature colourful style, the tapestry series The Declaration of the Rights of the Child will provide an optimistic and vibrant centrepiece for the new hospital. Weaver interns Karlie Hawking, Leith Maguire and Sophie Morris also continued to work on the tapestry 22 Temenggong Road, Twilight under the supervision and in collaboration with master weavers Sue Batten, Cheryl Thornton, Chris Cochius and Pamela Joyce. This design was the first prize winner of the Tapestry Design Prize for Architects in 2016 by Justin Hill, who based the design on his old home in Singapore. Presently 80% complete, it has been a delight to see the interns work on their first full-sized tapestry project.

The Tapestry Design Prize for Architects (TDPA) continues to go from strength to strength. Since its launch in 2015, the TDPA has become one of the ATW’s key programs, fostering a creative dialogue between tapestry practice and architectural process. We hosted the Tapestry x Architecture lecture at the ATW as part of Melbourne Design Week with esteemed architects Peter Williams, John Wardle and collaborative duo Superpleased (Eli Giannini and Sue Buchanan) — probably the first time in history four architects have come together to speak about contemporary tapestry! This provided a wonderful context for the launch of the 2018 TDPA, which was announced shortly after. For the third TDPA, ATW worked in close collaboration with the Museum of Old and New Art (MONA) and its founder David Walsh AO. David wrote the brief himself, inviting entrants to design a hypothetical tapestry for visionary 18th century French architect Étienne-Louis Boullée’s Cenotaph for Newton that was the inspiration for MONA’s Pharos Wing. We received an impressive 142 design proposals from 98 entrants, including submissions from many first-time entrants and international architects. The prize winners were announced by Jane Clark, Senior Curator of MONA during a packed evening at the ATW .

On behalf of the judging panel, I would like to congratulate all our shortlisted finalists, and particularly our first prize winners Pop Architecture and Hotham Street Ladies. It has been wonderful to see the architecture community engage with and embrace the unique challenges of the TDPA. Collaboration is fundamental to what we do, and another key program at ATW that continues to foster creative exchange is our Artist in Residence program. The AIR program invites artists working in all mediums at all stages of their careers to immerse themselves in the unique working environment of the ATW. This year’s program received the most applications yet, with 12 artists selected from 92 applications. I look forward to seeing their artworks as part of the AIR18 exhibition next year. Collaboration is also key to our ongoing project with Deborah Cheetham AO of Short Black Opera, The Woven Song: Embassy Tapestry Series. Following a wonderful performance inspired by the Catching Breath tapestry designed by Brook Andrew in the High Commission in Singapore, we look forward to future performances in Tokyo and New Delhi.

Thank you to all our friends and supporters who make the work of ATW possible. Your donations to our annual Give an Inch campaign ensures we can continue supporting and promoting the work of our talented weavers and contemporary tapestry to diverse audiences. I look forward to seeing what 2019 has in store! ATW

AUSTRALIAN TAPESTRY WORKSHOP

TREASURE HUNT

Treasure Hunt is a major tapestry woven at the Australian Tapestry Workshop to celebrate its 40th anniversary. Designed by renowned Chinese-Australian artist Guan Wei and woven by ATW weavers Chris Cochius, Pamela Joyce, Jennifer Sharpe, and Cheryl Thornton, it took more than 1300 hours to complete.

Above: Treasure Hunt, 2018, Guan Wei, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 0.864 x 3.6m. Photograph: John Gollings.

AUSTRALIAN TAPESTRY WORKSHOP

1 Bobbins and yarn used for the Treasure Hunt tapestry. Photograph: Jeremy Weihrauch. 2 Artist Guan Wei in front of work in progress, Treasure Hunt, 2018. Photograph: Jeremy Weihrauch. 3 Detail of work in progress, Treasure Hunt, 2018. Photograph: John Gollings. 4 Carrillo Gantner AO (right) and Ziyin Gantner (left) cutting Treasure Hunt off the loom, alongside ATW weavers Pamela Joyce, Jennifer Sharpe and Cheryl Thornton, 2018. Photograph: Jeremy Weihrauch.

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Treasure Hunt was based on a large wall mural that Guan Wei painted for his solo exhibition Other Histories at the Powerhouse Museum in Sydney in 2006. The tapestry can be interpreted as Guan Wei’s imaginary response to the explorations of Zheng He, the famous Chinese mariner, explorer, diplomat and fleet admiral who, between 1405 and 1433, led a legendary fleet of ‘treasure ships’ throughout Asia to East Africa. Imagining the flora and fauna the admiral might have seen on his travels, and his potential voyage to Australia, Treasure Hunt combines animals and monsters drawn from Chinese and European mythology, while the land shapes make reference to historical Chinese maps from the 14th century. The inclusions of the Chinese symbols for ‘North’ and ‘West’ make this reference to mapping more strongly felt. Guan Wei has also inserted himself into the tapestry through the depiction of a humanoid form frolicking with the imagined animals. Together, there are nearly 100 individual creatures and plants populating the tapestry.

AUSTRALIAN TAPESTRY WORKSHOP

To achieve the fine details required by the design, ATW master weavers employed a double-warp technique; some areas — like the sea — are woven with a double warp (two per bead), while individual details are highlighted with a single warp (one per bead). The tapestry uses both cotton and wool, with more strands of cotton giving the tapestry an overall impression of luminosity and vibrancy. Regarded as a whole, the tapestry design is a magnificent and conceptually rich work that reflects both Indigenous and colonial culture. Through a striking depiction of oceans, imagined islands and desert interiors in the artist’s signature playful style, Treasure Hunt makes reference to migration, exploration and the influence of globalisation from a contemporary Australian and Chinese perspective. A booked out Lecture for the Friends of the ATW was held on 8 February 2018 with Guan Wei. Visiting from his studio in Beijing, Guan Wei spoke about his design process for Treasure Hunt as well as his artistic practice and career over the last three decades.

He spoke in particular about his early experiences in Australia as a student on exchange, and how his career to date has been shaped through this cross-cultural dialogue between China and Australia. The lecture provided a rare opportunity for Melbourne audiences to hear from the internationally renowned artist. Following a cutting off ceremony on 10 July 2018, Treasure Hunt made its first public appearance at the Australian Design Centre in Sydney as a key work in the exhibition Painting with Thread: Tapestries and Samples from the Australian Tapestry Workshop. Displayed amongst samples and yarn bobbins from the project, the exhibition offered Sydney audiences a glimpse into the process of creating contemporary tapestry from design and sampling, to weaving and completion. ATW

MORNING STAR

LYNDELL BROWN AND CHARLES GREEN AUSTRALIAN TAPESTRY WORKSHOP

Morning Star is a commemorative tapestry, designed by prominent Australian artists Lyndell Brown and Charles Green for the new Sir John Monash Centre near Villers-Bretonneux, France. Morning Star was hand woven by Pamela Joyce, Leonie Bessant, Chris Cochius, Jennifer Sharpe and Cheryl Thornton. The design evokes both the experience of Australian soldiers arriving at war and the memories that they carried with them from home. Lyndell Brown and Charles Green have previously been war artists in Iraq and Afghanistan, and there is also a personal connection to the project, as Green’s grandfather was one of those World War I Australian soldiers at the Western front. Their resulting design is an evocative and highly compelling work that highlights personal narratives of the battlefield.

Morning Star was designed specifically to hang in the Sir John Monash Centre (SJMC) in France, which commemorates the Australian servicemen and women who served on the Western Front during World War I. The Centre is named after 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 SJMC was officially opened on 24 April 2018 by Prime Minister the Hon. Malcolm Turnbull MP. The structure was designed by Cox Architecture as a contemporary centre to provide an emotional, informative and interactive experience for visitors of all nationalities. Set on the grounds of the Villers-Bretonneux Military Cemetery in Northern France and adjacent to the Australian National Memorial, the SJMC is the hub of the Australian Remembrance Trail along the Western Front, and establishes a lasting legacy of Australia’s Centenary of Anzac 2014 – 2018.

Before travelling to its permanent home in France, Morning Star was also exhibited at Melbourne’s Shrine of Remembrance. This was a special opportunity for Melbourne and Australian audiences to view the tapestry in the wider context of commemorative spaces and exhibitions about Australia’s involvement in World War I. The exhibition was opened by Senator for Victoria Jane Hulme, along with Chairman of the Shrine of Remembrance Trustees Air Vice-Marshal Chris Spence AO (Retired) and Australian Tapestry Workshop Chairman Mr John Ridley AM. Morning Star was generously supported by the Tapestry Foundation of Australia, Australian Hotels Association, ANZAC Centenary Arts and Culture Fund, Marjorie M Kingston Charitable Trust, Calvert-Jones Family, Anne and Mark Robertson OAM, Baillieu Myer AC and Sarah Myer, Yulgilbar Foundation, Chasam Foundation and the Myer Foundation. ATW

Previous spread: Morning Star, 2017, Lyndell Brown and Charles Green, woven by Pamela Joyce, Leonie Bessant, Chris Cochius, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 2.5 x 5.04m. Photograph: Jeremy Weihrauch. 1 Morning Star in situ at the Sir John Monash Centre, Villers-Bretonneux, 2018. Photograph: John Gollings. 2 Bobbins used for Morning Star, 2017. Photograph: Jeremy Weihrauch. 3 Artists Charles Green and Lyndell Brown in front of the completed Morning Star tapestry, 2017. Photograph: Jeremy Weihrauch. 4 (From right to left), Michael Bennett, Charles Green, Lyndell Brown, Pamela Joyce and Mark Robertson cutting Morning Star off the loom, 2017. Photograph: Jeremy Weihrauch.

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AUSTRALIAN TAPESTRY WORKSHOP

THE DECLARATION OF THE RIGHTS OF THE CHILD

Emily Floyd at ATW. Photo: ATW.

2,3 Work in progress, The Declaration of the Rights of the Child, 2018, Emily Floyd, woven by Jennifer Sharpe, Chris Cochius & Pamela Joyce, wool, cotton, 3 tapestries 2.0 x 1.3m each. Courtesy of the artist and Anna Schwartz Gallery. Photograph: Jeremy Weihrauch.

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The Declaration of the Rights of the Child tapestry has been hand woven by ATW master weavers Jennifer Sharpe, Chris Cochius and Pamela Joyce in collaboration with the artist Emily Floyd for the new Joan Kirner Women’s and Children’s Hospital in Sunshine, Melbourne — to be opened to the public in 2019. Inspired by the work and legacy of the Hon. Joan Kirner AC — former Premier of Victoria — The Declaration of the Rights of the Child tapestry stems from the Emily’s long-term research at the Ruth and Maurie Crow Archive. Amongst the materials contained in the collection are several of Joan’s writings, as well as pioneering work in relation to urban planning, community building and creating a sustainable future. The process of translating community history through the medium of tapestry weaving celebrates women’s contributions to society and will provide a colourful and optimistic centrepiece for the new hospital. The tapestry has been commissioned and funded by the Tapestry Foundation of Australia, the State Government of Victoria and the Australian Hotels Association for the enjoyment of the patients, visitors and staff of the hospital. ATW AUSTRALIAN TAPESTRY WORKSHOP

JUSTIN HILL 22 TEMENGGONG ROAD, TWILIGHT

AUSTRALIAN TAPESTRY WORKSHOP

Previous spread: Work in progress, 22 Temenggong Road, Twilight, 2018, Justin Hill, woven by Karlie Hawking, Sue Batten, Chris Cochius, Pamela Joyce, Leith Maguire, Sophie Morris and Cheryl Thornton, wool and cotton, 2.35 x 3.54m. Photograph: John Gollings.

1 Justin Hill in front of 22 Temenggong Road, Twilight, 2018. Photograph: Jeremy Weihrauch. 2 Bobbins of yarn in front of 22 Temenggong Road, Twilight, 2018. Photograph: Jeremy Weihrauch. 3 ATW weaver interns (left to right) Karlie Hawking, Sophie Morris and Leith Maguire working on 22 Temenggong Road, Twilight, 2018. Photograph: John Gollings.

The journey… It’s one thing to enter a design competition, and another thing to do it justice. At the outset I was more than a little lost. Swotting up on contemporary Australian tapestries had put the fear of God into me, and I wondered endlessly what sort of work would look best on that big wall in the National Gallery of Australia (NGA). I needed a plausible story, a dimension, and something that could be woven.

What helped me was that I had taken weaving as an elective in my uni days. I had learnt how to string up a small loom, and how difficult it was to keep things horizontal and vertical. My vertical edges seemed always to bow inwards. And the time involved! This was single-ply wool weaving, using remaindered skeins of wool from a carpet factory in Tasmania I collected on my holidays. One idea lying on my dining table amid the failed attempts, sketches and notes, with two weeks to go, was my start at 22 Temenggong Road, Twilight. There, shown on several blurry photographs taken early one evening outside my old house in Singapore, was the start of an idea. It had a story, of lasting memories, it had layers of intrigue, and it was architectural; a full-sized woven window for a wall of the NGA. There was also a certain romance to it, and it was theatrical, capturing that evocative time when blue becomes dominant as night descends. Several rounds of flattening, merging, sharpening, and colour adjustment took place. Finally, as I was showing it to a colleague, he suggested that it perhaps needed something further to bring a scale to the composition. So in went the silhouette of myself with my mother;

two figures looking out, to represent the many friends and family members who had visited in the two decades I had lived there. Done. Fast-forward to the present, and to the loom. ATW had decided to produce the tapestry, with weavers lead by the highly experienced Sue Batten. Later, Cheryl Thornton joined. Samples arrived in Singapore for review, all artworks in themselves. Adjustments were made, questions asked. In the image we see into my house from the outside, when day becomes night, through a layer of fraying chick blinds, some missing their cotton linings making them partially transparent like a theatre gauze. Then through another layer of mesh which kept out monkeys and other invaders. The geometry of the blinds and the mesh don’t align, creating an ikat-like complexity which might be challenging. Beyond these is the inner wall, complex in itself with louvred doors, openings, my stereo equipment and CD collection in view. Finally, patches of the inky evening sky from the far side of the house are visible through openings. Enclosing all this is the window frame itself, and the roof tiles above, sagging after 80 or 90 years of being there. To make some sense of this I produced a plan of that part of the house for the weavers.

Soon after I met Sue, Karlie, Leith, Sophie, and Cheryl and the rest of the team in Melbourne. Colours were finalised, samples scrutinised again, and the loom was up. I was shown how colours were plied together to produce incredible depth and richness. The penny dropped: what a task this was, to take the four weavers nearly a year to complete. I wondered how to react, being 6000 km from Melbourne most of the time. I should not have worried, because the process is all based on mutual trust. For in that big room in South Melbourne there is a formidable combination of creativity, enthusiasm, experience, and of course humour. Nothing seems daunting to the weavers or to their management or Board: no cultural journey or the saddest of subjects, such as their recently completed epic Morning Star tapestry, stands in their way. Nothing is too big or too small, and every nuance is so carefully considered. I think we are all doing this project justice. More than that, it is for me a great privilege to take this remarkable journey, especially as it’s all a bit mad as well, which I love. JUSTIN HILL FRAIA, MSIA

AUSTRALIAN TAPESTRY WORKSHOP

TAPESTRY DESIGN PRIZE FOR ARCHITECTS 2018 Boullée’s fondness for grandiose designs has caused him to be characterised as both a megalomaniac and a visionary.”

TDPA 2018

That’s from the Wikipedia article on Étienne-Louis. Those around me, my staff, friends and sycophants, call me a visionary to my face and a megalomaniac to each other. Megalomaniacs have, as their biological brief, a desire to do things that can’t be done. So in Pharos, we brought some masters of caprice together. I’d like to put them in a room together. Until Nonda and his mates started talking about Boullée I’d never heard of him. We have now built a wing of MONA called Pharos, and parts of that wing are both a paean to, and in thrall of, Boullée’s grandiose Cenotaph for Newton. Here’s how we ripped him off:

David Walsh AO THE BRIEF

Elsewhere in Pharos is a thrashing machine of Jean Tinguely. Tinguely also harnessed geometry, but then let it loose. Both abstracted geometrical elements for whimsy. What would have happened if they collaborated on a design that, in true Boullée style, was unconstrained by the requirement that it be constructable? DAVID WALSH AO

THE SITE: The hypothetical site for the

2018 Tapestry Design Prize for Architects

is Boullée’s mooted building that was inspiration for the Pharos Wing, MONA, Tasmania, Australia. The tapestry could potentially be hung on the wall behind James Turrell’s Unseen Seen, 2017.

1,2 Cenotaph for Newton, ÉtienneLouis Boullée. 3,4 Unseen Seen, 2017, James Turrell. 5

Memorial to the Sacred Wind or The Tomb of a Kamikaze,1969, Jean Tinguely.

All images courtesy of the artist and MONA Museum of Old and New Art, Hobart, Tasmania, Australia

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Pop Architecture + Hotham Street Ladies FIRST PRIZE

Chaos and Fertility Deep within the submerged, rocky base of Newton’s Cenotaph, and obscured in the shadowy nether regions of the subterranean colonnade, the secret sect of Diana of Ephesus continued at their needle work. There was no place for them or their practice in Boullée’s cult architecture, its principles promoting the total absence of ornament and other. Cast aside, they railed against ÉtienneLouis Boullée’s sphere as an absolute and perfect symbol of Male Reason. Instead, they conceived of a work that would blow apart this male fantasy: a resplendent, vivid and richly textured tapestry, which — when joined at the seams — would shroud the geometric purity of the sphere with a riotously decorative display. It would be a depiction of the hidden grottos at which they worshipped, each containing a female deity. When revealed, this would envelop Newton’s Cenotaph with potent symbols of female fertility and fecundity.

TDPA 2018

AUSTRALIAN TAPESTRY WORKSHOP

Arturo Muela, Paola Ibarra + Daniela Gutiérrez

Alice Hampson JUDGE’S ESSAY

SECOND PRIZE

Colliding Universes in Saint Peter’s Four Meter Woollen Eye

For many of our modernist heroes – Le Corbusier, Oscar Niemeyer, Jørn Utzon and Harry Seidler – the artfulness of tapestry has an affinity with architecture. It is their fabric, the fabric of modernism. Their tapestry designs and commissions adorn public architecture, representing the significance of the fabric to modernism.

Kevin Liu THIRD PRIZE

After Turrell, Backside of the Moon

TDPA 2018

The Australian Tapestry Design Prize for Architects, the only such competition in the world, holds the potential to engage architects meaningfully with this tradition. It offers a provocative challenge in the context of architectural collaboration, in designing a tapestry for another architect’s space, to be fabricated by yet another artisan. The lure is not just the cash, albeit a rarity rapturously welcomed by architects. More compelling is the prospect – a possibility rather than a promise – of joining previous winners in having their designs woven by the prestigious Australian Tapestry Workshop; a once in a lifetime opportunity of true collaboration between architect and master weaver. David Walsh’s brief for the 2018 third Australian Tapestry Design Prize for Architects was certainly the most challenging yet. The hypothetical site, Étienne-Louis Boullée’s unbuilt Cenotaph for Newton inspired the Pharos Wing in Fender Katsalidis Architects’ Museum of Old and New Art (MONA). The brief ingeniously intertwines characteristics both old and new: Boullée; Walsh himself; Fender Katsalidis Architects; the Pharos Wing; and two works inhabiting its space, James Turrell’s 2017 spherical sculpture Seen Unseen, and Jean Tinguely’s 1969 thrashing machine Memorial to the Sacred Wind or The Tomb of a Kamikaze. Blind judging was innovatively essayed, authorship revealed only after results were decided.

The brief’s complexities produced works of astounding beauty, with homages to Boullée, Turrell and Walsh, works of wit, riots of digitally manipulated colour, interplays of darkness and light, and demonstrations of pure singular geometry and form. Three shortlisted entries tested the materiality of nature from the West MacDonnell Ranges (Naked Wonder by Kenneth Wong), ancient Tasmanian rainforests (Nature by Qing Ye), and an inverted disintegrating sky under Cradle Mountain (Warped Fragments of an Ethereal Nature by Nicholas Miller). Two finalists paid homage to architectural visionaries: Delirious Landscape by SAA. Studio Adrian Aguirre, a colourful cornucopia of architectural form; and Architectural Fragments in the Shadow of Boulée by 3RDRM, a sombre moody triptych honouring Mies van der Rohe, Le Corbusier and RCR Arquitectes. Six shortlisted entries conjured illusions: Through to More by Retallack Thompson mimicked existing hot rolled steel doors; Interval by Sebastian Gatz blurred video stills into neon optic patterns; Gravity Flower by thingsmatter daintily offered a delicate flower as barely visible artefact; Looking into the Face of God by Grimshaw fashioned a mathematical rendering of a gravitational wave; Polaris by Aaron Fein provided a luminous tessellated illusion of an isometric in flux; and After Turrell, Backside of the Moon by Kevin Liu, a magnificently crepuscular design reimagining Turrell’s dark-room works as tapestry, was awarded third place. Imbued with great tenebrosity and sparing light, this work impressed the jury with its experiential qualities and resonance. Thematically the entry ‘Memento Mori.’ Remember you must die. by Conrad Gargett stood alone: a lyrical and witty homage mostly to Walsh’s MONA collection and vision.

The remaining finalists referenced the human body: Private Monument by Toby Beale, Stephen Brameld, Sally Farrah and Tasmin Vivian-Williams charted anthropomorphism; while second place winner, Colliding Universes in Saint Peter’s Four Meter Woollen Eye by Arturo Muela, Paola Ibarra and Daniela Gutiérrez was a hypothetical proposal for a gigantic human iris from MONA’s community magnified 173 times, the potent association between the iris’s sphere and the cosmos captivating jurors. Pop Architecture and Hotham Street Ladies irrepressibly entranced jurors with the felicity, complexity and wit of the entry Chaos and Fertility. Rejecting outright Boullée’s ideals of male reasoning, it responded to the brief through subversion, focusing on female history and subjectivity. Accompanying text allegorised feminine endeavour, imagining a secret sect led by Diana of Ephesus performing the art of needlework deep beneath the subterranean colonnade and rocky base of Newton’s Cenotaph. It alone identified the weaver. Most ingeniously, this tapestry is presented as a cartographer’s artefact. An unfolded planet – technically a Mercator projection – uses Tissot’s indicatrix to fashion flat surface from sphere. Subliminally eclipsing masculine reasoning with intuitive feminine handiwork, it masks the purity of Boullée’s sphere with vociferous encrusted feminine decoration and adornment. The intricateness and delicacy of the design and its intended rich texture demanded technically challenging but rewarding tapestry making, well suited to the ATW’s expertise.

AUSTRALIAN TAPESTRY WORKSHOP

C O L O U R T H E R A P Y TAPESTRIES IN HOSPITALS

2 Research and Respond, 2007, Merrin Eirth, woven by Chris Cochius, Louise King, Rebecca Moulton and Emma Sulzer, wool and cotton, 2.0 x 4.0 m.

The ATW is one of the largest producers of public art and our tapestries are viewed by millions of people each year. On the occasion of the new Emily Floyd tapestry series commissioned for the new Joan Kirner Hospital Women’s and Children’s Hospital in Sunshine, Melbourne, we look back at some previous tapestries created for display in major hospitals in Victoria, Australia. Tapestries in these contexts provide a positive point of contemplation for patients, visitors and staff at what may otherwise be a stressful or difficult time in their lives. Most recently the ATW worked with John Olsen AO OBE for the ninth time to create Life Burst for the purpose-built Peter MacCallum Cancer Centre, opened in mid-2016. The shapes in the tapestry respond to the architectural design of the building, and bring an expression of optimism and joy to the atrium where the tapestry is installed. The tapestry was generously supported by the Australian Hotels Association, Anne Robertson and Mark Robertson OAM, Janet CalvertJones AO and John Calvert-Jones AM. The Northern Hospital in Epping is home to the North Facing tapestry designed by Bern Emmerichs and completed in 2013.

1 Concerning the wading birds of the Warrnambool wetlands, 2012, John Wolseley, woven by Chris Cochius, Pamela Joyce and Milena Paplinska, wool and cotton, 1.8 x 1.9m. Photograph: Jeremy Weihrauch.

AUSTRALIAN TAPESTRY WORKSHOP

This tapestry was commissioned with the support of the Australian Hotels Association and Anne Robertson and Mark Robertson OAM. Emmerichs grew up in the same area where the hospital is based, and draws on her memories of the nature and history of the area in the design. The resulting tapestry is on prominent display in the entrance lobby of the hospital and welcomes all visitors. The stunning Concerning the wading birds of the Warrnambool wetlands, based on a watercolour by John Wolseley hangs in the Warrnambool Base Hospital. This tapestry, completed in 2013, was generously supported by the Geoff and Helen Handbury Foundation. The tapestry design includes reference to native flora and fauna, with a particular focus on shore birds from the Warrnambool coast. Melbourne’s Royal Women’s Hospital is home to the tapestry Eye Desire, designed by Sally Smart in 2011. Smart is known for her reworking of materials such as felt and paper cut-outs to create compelling new works. Featuring a female figure against a bright red background, Eye Desire provides an affirmative focus point for patients and visitors to the Hospital. The tapestry was commissioned by Anne and Mark Robertson OAM, through the Tapestry Foundation of Australia, to celebrate the Hospital’s 155th birthday.

In the Royal Children’s Hospital hangs the joyful and playful The Games Children Play tapestry, 2009, designed by Robert Ingpen AO. This tapestry was commissioned by the Royal Children’s Hospital Foundation and the Beck family as a tribute to Dame Elizabeth Murdoch’s 75-year relationship with the hospital. The inspiration for the design was a painting titled Games Children Play by Pieter Brueghel the Elder, from 1590. Ingpen’s design updates this theme for a contemporary, multicultural Australian context. Last but not least, the Royal Melbourne Hospital also has a tapestry in its collection, Research and Respond, 2007, by Merrin Eirth. This tapestry represents a collaboration between the Victorian College of the Arts, the Royal Melbourne Hospital, the ATW and the Tapestry Foundation of Australia. Eirth designed the tapestry after completing a three-month residency at the hospital, and the design reflects the artist’s experience and perception of the hospital environment. ATW .

3 Eye Desire, 2011, Sally Smart, woven by Sue Batten and Chris Cochius, wool and cotton, 4.84 x 2.75m, in situ at the Royal Women’s Hospital, Melbourne. Photograph: John Gollings. 4 North Facing, 2012, Bern Emmerichs, woven by Emma Sulzer and Sue Batten, wool and cotton, 1.5 x 4.0m. Photograph: John Brash.

5 5 The Games Children Play, 2009, Robert Ingpen AO, woven by Sue Batten, John Dicks and Emma Sulzer wool and cotton, 1.1 x 5.5m, in situ at the Royal Children’s Hospital. Photograph: John Gollings. 6 Life Burst, 2016, John Olsen AO OBE, woven by Pamela Joyce, Sue Batten, Chris Cochius, Jennifer Sharpe and Cheryl Thornton, wool and cotton, 1.1 x 5.5m, in situ at the Peter MacCallum Cancer Centre. Photograph: John Gollings.

Collaboration is central to the idea of creating great tapestries and, over the years, the Australian Tapestry Workshop has worked with many leading Australian and international artists. It is in this collaborative spirit that the Artist in Residence (AIR) program has been created at the ATW.

The AIR program invites contemporary artists to immerse themselves in the unique studio environment of the ATW for two to eight weeks, full or part time, with access to our specialist resources and materials. Artists working in any medium — not just the visual arts or textile-based practice — and at any stage of their career, can undertake a residency at the Workshop. In 2018, twelve artists were selected from an outstanding pool of 92 international and national applicants. Artists in Residence are invited to give a public talk at ATW about their work and, following the completion of their residency, all AIR artists are offered an opportunity to exhibit together the following year. This year’s AIR17 exhibition included 2017 artists Freÿa Black, Emma Greenwood, Chris O’Brien, Drew Pettifer, Debra Porch, Elena Redaelli, Gina Ropiha, Carly Snoswell, Superpleased (Sue Buchanan and Eli Giannini) and Zilverster (Goodwin & Hanenbergh).

ARTISTS IN RESIDENCE: ALTERFACT

(Ben Landau and Lucile Sciallano) is a Melbourne-based experimental design studio founded in 2014. Alterfact’s work currently focuses on small batch 3D printing in clay.

CHLOE BENSAHEL is a French artist living in America who works across textiles, sound and installation to explore her own individual narrative and relationship to place.

MARTINA COPLEY is a Melbourne-based artist and writer who works across film, sound, drawing and installation. She is interested in various modalities of practice and the annotative space.

MELANIE IRWIN is a Melbourne-based artist who merges sculpture and drawing with performance art to explore the ways in which we construct and inhabit space.

ANNE GRAHAM

RUTE CHAVES

is a New South Wales-based artist and academic who investigates identity and space. Her definition of creativity includes cooking, gardening, and several forms of social activities

is an artist and designer interested in the role of craft in a digital context. Her TRICOTAUTOMAT project interprets real-time photos through a knitting machine.

BRITT SALT

SAI-WAI FOO

is a Melbourne-based artist who explores notions of form and space through her sculptural work and site-specific installations.

is a Melbourne-based visual artist whose craft-based practice is informed by her fashion design background. Her practice primarily focuses on reworked recycled objects.

BRONWYN HACK

SIMONE KENNEDY

is a painter, printmaker, ceramicist, and 3D artist. She has worked in the studio at Arts Project Australia in Victoria since 2011.

CAROLYN CARDINET is a French-born Australian artist who collects and uses discarded everyday objects, subsequently turning them into new assemblages and sculptural forms.

is an interdisciplinary artist based in South Australia who works across painting, soft sculpture and installation to explore the theme of re-imaging a symbolic mother figure.

SIYING ZHOU is a Chinese-born Australian artist who uses images, text, video and artefacts to question the complexity of cultural difference.

AUSTRALIAN TAPESTRY WORKSHOP

WEAVING INTO WELLBEING

Creations from Weaving into Wellbeing program at Arterie @ RPA. Photograph: Courtesy of Arterie @ RPA.

The Weaving into Wellbeing therapeutic program was developed by the Australian Tapestry Workshop to work in collaboration with partner institutions. In 2018, we continued to engage with Arterie at the Royal Prince Alfred (RPA) Hospital in Sydney. Participants were given basic tools to weave a creature using simple weaving techniques with the results being displayed in the new RPA Children’s Ward. 2018 was also our third year of collaboration with Chris O’Brien Lifehouse. Participants used yarn from the ATW to create small-scale textile works inspired by the tapestry 22 Temenggong Road, Twilight, designed by architect Justin Hill and winner of the 2016 Tapestry Design Prize for Architects.

PAINTING WITH THREAD

Artist Guan Wei visits the Painting with Thread: Tapestries and Samples from the Australian Tapestry Workshop exhibition at the Australian Design Centre, Sydney, 2018. Photograph: courtesy of the artist.

Painting with Thread, an exhibition of recent tapestries and samples from the collection of the ATW at the Australian Design Centre in Sydney, offered audiences an insight into contemporary tapestry creation by ATW weavers, from designing, sampling and weaving to completion. The selection emphasised experimental and innovative approaches to contemporary tapestry production, as well as a diversity of recent projects and collaborations at ATW. A key work highlighted was the new Treasure Hunt tapestry, designed by Guan Wei.

TAPESTRY X ARCHITECTURE

(Left to right) Peter Williams, Eli Giannini, John Wardle and Sue Buchanan speaking at ATW as part of the panel Tapestry x Architecture, 2018. Photograph: Tim O’Connor.

In conjunction with the launch of the Tapestry Design Prize for Architects 2018 and as part of Melbourne Design Week, the ATW held a panel discussion that brought together four leading architects to speak about the connection between architecture and tapestry. Speakers Peter Williams, John Wardle and collaborative artists and architects Superpleased (Eli Giannini and Sue Buchanan) spoke about the effect of design on people and perceptions of the built environment.

AUSTRALIAN TAPESTRY WORKSHOP

MAKING CONNECTIONS

COMMUNITY OUTREACH

As an internationally regarded leader in contemporary tapestry, the ATW is committed to promoting the art of tapestry weaving to contemporary audiences. Each year the ATW supports this mission through an active schedule of public programs including exhibitions, events, talks, weekly tours, open days and weaving workshops. These programs present different ways for people to experience our work, learn more about contemporary tapestry, and engage in creative collaboration.

EMERALD 4 THREADS Emerald Threads install view, 2018. Photograph: Eugene Howard, courtesy Slow Art Collective.

Emerald Threads, an interactive public art installation by Slow Art Collective, invited public participation and intervention from members of the South Melbourne Community, encouraging experimentation and play. It took the form of a large-scale built structure consisting of bamboo, domestic scaffold and other recycled material, where members of the public could contribute to the woven warp walls over the duration of the project. Emerald Threads was a collaborative project between the Australian Tapestry Workshop, Multicultural Arts Victoria and Arts Access supported by the City of Port Phillip.

OPEN HOUSE MELBOURNE 2018

Kids weaving activities at the ATW during Open House Melbourne 2018. Photograph: ATW.

For the fifth consecutive year, the ATW opened its doors to the public on Saturday 28 July 2018 for Open House Melbourne. This open day provided visitors an opportunity to explore the ATW and learn more about the heritage building, as well as meet some of our weavers and Artists in Residence. Other highlights of the day included free guided tours, drop in kids weaving activities and the community loom, as well as the Artist in Residence market featuring works by past artists in Residence.

ROW A 1 Kate Torney Janet Calvert-Jones AO Penny Fowler John Wylie AM 2 Carey Lyon Richard Lyon 3 Debbie Dadon AO

Aaron Kanat Ann Bryce

4 Katrina Strickland The Hon Guy Parker SC ROW B 1 Antonia Syme Liane Rossler Grace Cochrane 2 Jenny Klempfner Dr Fiona Caro Pro Vice Chancellor Su Baker AM 3 Bob Nation AM Kim Crestani Alec Tzannes AM 4 Alice Hampson Tony Jemmott ROW C 1 Nonda Katsalidis Jane Clarke 2 Jo Crosby Mary Crosby 3 Fleur Watson Dimmity Walker 4 Janet Laurence Penelope Seidler AM ROW D 1 The Hon John Cain Nancye Cain 2 Gabrielle Trainor Louise Herron AM John Ridley AM Cherry Best Peter Best 3 Barry Groom Daina Fletcher Dr Anne Watson Alison Alford Sue Hewitt 4 Robin Gorton Amy Boyd Virginia Gorton

AUSTRALIAN TAPESTRY WORKSHOP

AT THE WORKSHOP:

THE WOVEN SONG: EMBASSY TAPESTRY SERIES BY SHORT BLACK OPERA

We are thrilled to be working with Deborah Cheetham AO of Short Black Opera on her The Woven Song: Embassy Tapestry Series. The project celebrates works of art from an ancient culture, reinterpreted and recreated by the exceptional weavers at the Australian Tapestry Workshop, inspiring a contemporary response in current classical music practice. It is an innovative project that breathes new life into each work, honouring the artistic excellence of the artists involved in creating these threedimensional works of cultural expression.

The first of her nine new compositions, Catching Breath, which premiered in Singapore earlier this year, was inspired by the tapestry of the same name designed by Brook Andrew currently at the Australian High Commission in Singapore. The performance featured artists from Nanyang Academy of Fine Arts, the West Australian Symphony Orchestra, alongside the composer and pianist Toni Lalich. We look forward to Deborah’s future performances scheduled for Tokyo and New Delhi. ATW

Deborah Cheetham AO and Toni Lalich in front of Catching Breath, 2014, Brook Andrew, woven by Chris Cochius, Pamela Joyce and Milena Paplinska, in situ at the Singapore High Commission. Image courtesy of Deborah Cheetham AO, Short Black Opera.

ARNOLD HANCOCK OBE 1923 — 2018

Arnold Hancock OBE with Hancock Fellow Reiko Sudo in 2015. Photograph: Heather Lighton.

It is with great sadness that we recently farewelled our Emeritus Trustee and former Chairman Arnold Hancock OBE. Arnold has been an instrumental figure in the history of the ATW and his visionary thinking resulted in some far-reaching initiatives. He served as a board member from 1987 to 2001 and Chair from 1989 to 1993. His vision led to the establishment of the Tapestry Foundation of Australia to support the ATW, and from June 1995 until June 2003 he chaired the Foundation. He remained a trustee until 2007.

Arnold also established the Hancock Fellowship, which allows the ATW to bring an international artist or scholar to Melbourne to further creative exchange and collaboration. Together with Gordon Darling, Arnold also initiated a scheme to place ATW tapestries in Australian diplomatic posts overseas. To date, nine tapestries designed by Indigenous artists are displayed in overseas posts. Arnold’s passionate and unstinting commitment to the ATW over four decades and his gentle diplomacy and sagacity will be deeply missed by the Board and staff of the Australian Tapestry Workshop. ATW AUSTRALIAN TAPESTRY WORKSHOP

www.austapestry.com.au/friends-of-the-atw

IF YOU WOULD LIKE TO ASSIST WITH THE ATW’S CONTINUED SUCCESS, PLEASE CONSIDER MAKING A DONATION TODAY! With your support the ATW’s skilled master and trainees weavers can continue to collaborate with artists, architects and designers to create tapestries that are known for their vibrancy, technical accomplishment and inventive interpretation. All donations of $2 and over made to the annual GIVE AN INCH appeal through the Tapestry Foundation of Australia are tax deductible.

www.austapestry.com.au/donate

JOIN THE FRIENDS OF THE ATW: Become a Friend of the Australian Tapestry Workshop and take advantage of our many 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 Free tour of the ATW for you and a guest to discover more about the history of the ATW. Free entry to the ATW any time during gallery hours. Invitations to and discount tickets for Friends’ Events and Lectures featuring diverse and exciting speakers. A complimentary copy of our annual magazine WOVEN (RRP $12). Special opportunities for external gallery, studio, and tapestry tours. Invitation to the Friends Reading Circle, a free-to-attend social book club for Friends of the ATW.

10% Discount at the ATW Store. Please note: the discount is not available via the online store.

Reciprocal benefits at other members of the Australian Craft and Design Centre Network.

Left to right: Friends and supporters at the Tapestry Design Prize for Architects 2018 Prize Winners Announcement and Exhibition Opening, 2018. Photograph: Tim O’Connor. ATW weavers and staff (left to right) Pamela Joyce, Sophie Morris, Sue Batten, Leith Maguire, Karlie Hawking, Antonia Syme, Cheryl Thornton and Chris Cochius with architect Justin Hill (centre) in front of 22 Temenggong Road, Twilight, 2018. Photograph: Jeremy Weihrauch. 34

AUSTRALIAN TAPESTRY WORKSHOP

Please note reciprocal benefits are available at the discretion of the following organisations: Craft – VIC, Australian Design Centre – NSW, Sturt Centre for Contemporary Craft – NSW, Artisan – QLD, Craft ACT – ACT, Canberra Glassworks – ACT, JamFactory – SA, Guildhouse – SA, Form – WA, Central Craft – NT, TactileARTS – NT, Design Tasmania – TAS.

WILL & DOROTHY BAILEY BEQUEST BEVERLY DEAN IN MEMORY OF RUTH WARREN ESTATE OF DR PHILLIP LAW AC CBE THE ESTATE OF DAME ELISABETH MURDOCH AC DBE ANGUS TRUMBLE IN MEMORY OF HELEN TRUMBLE MEG WARREN IN MEMORY OF RUTH WARREN

BEQUESTS & ESTATES

WE ACKNOWLEDGE WITH GRATITUDE THE GENEROUS SUPPORT OF THE ABOVE IN THE PURCHASE OF THE AUSTRALIAN TAPESTRY WORKSHOP BUILDING

VICTORIAN GOVERNMENT COMMUNITY SUPPORT FUND DAME ELISABETH MURDOCH AC DBE HELEN M SCHUTT TRUST THE IAN POTTER FOUNDATION

BUILDING FUND

MORANDI INVESTMENTS P/L THE HON SUSAN MORGAN ELISABETH MURDOCH TRUST MARTYN MYER AO & LOUISE MYER RUPERT MYER AO & ANNABEL MYER NATIONAL AUSTRALIA BANK THE ORLOFF FAMILY CHARITABLE TRUST HAZEL PEAT CHARITABLE TRUST IAN POTTER FOUNDATION THE PRATT FOUNDATION LYNN RAINBOW REID AM & JOHN REID AO RICHARD & ROSEMARY RAW JOHN T REID CHARITABLE TRUST ANNE & MARK ROBERTSON OAM ARTHUR ROBINSON & HEDDERWICKS MARGARET ROSS AM & DR IAN ROSS JEAN ELISABETH RYAN CHARITABLE TRUST BRENDA SHANAHAN CHARITABLE FOUNDATION ESTATE OF THE LATE MISS MARGARET LITTLEDALE TUTTON JOHN KERR TUTTON CHARITABLE TRUST UNIVERSITY OF MELBOURNE TERESA WARDELL TRUST THE HUGH D T WILLIAMSON FOUNDATION

ALLENS-LINKLATERS (ARTHUR ROBINSON & HEDDERWICKS) ANNAMILA PTY LTD JOANNE BAEVSKI BHP BILLITON WILLIAM BOWNESS AO DIANA BROWNE TRUST ROBYN & TONY CASS CHASAM FOUNDATION ANN COLE JOHN & CHRIS COLLINGWOOD CRA CUA GORDON DARLING FOUNDATION ALAYNE DAVIES & ALAN DAVIES DEPARTMENT OF FOREIGN AFFAIRS & TRADE DEUTSCHE BANK TIM FAIRFAX AO & GINA FAIRFAX TIMOTHY FAIRFAX FOUNDATION PAULA FOX AO JIANGUO PTY LTD REG & LAURA GREGORY LESLEY GRIFFIN HELEN K GROVES MRS G F HAGGER J. ARNOLD HANCOCK OBE AND PAT HANCOCK HERALD & WEEKLY TIMES ROBERT & MEM KIRBY FOUNDATION MACQUARIE BANK

MAJOR DONOR Accumulative Gifts over $10,000

AUSTRALIAN HOTELS ASSOCIATION THE CALVERT-JONES FOUNDATION CARRILLO GANTNER AO & ZIYIN GANTNER NEILMA GANTNER GEOFF & HELEN HANDBURY FOUNDATION HOTEL & LEISURE MANAGEMENT PTY LTD THE JACK KENNEDY FUND HELEN MCPHERSON SMITH TRUST THE MYER FOUNDATION THE SARAH & BAILLIEU MYER AC FAMILY FUND THE SIDNEY MYER FUND LADY MARIGOLD SOUTHEY AC THE YULGILBAR FOUNDATION MAJORIE M. KINGSTON CHARITABLE TRUST THE NORMA MAVIS & GRAEME WATERS CHARITABLE TRUST WINDERMERE FOUNDATION LTD

PRINCIPAL DONOR accumulative gifts over $100,000

JANET CALVERT-JONES AO & JOHN CALVERT-JONES AM DAME ELISABETH MURDOCH AC DBE BAILLIEU MYER AC & SARAH MYER

PRINCIPAL BENEFACTOR Accumulative Gifts ver $500,000

BAILLIEU MYER AC

PATRON

THE GIVE AN INCH ANNUAL APPEAL DONOR ROLL ACKNOWLEDGES SUPPORTERS WHO HAVE DONATED $200+ WITHIN THE PERIOD 1 SEPTEMBER 2017 – 30 AUGUST 2018

ANONYMOUS (1) BARBARA ANDERSON ANNETTE BAXTER CHARLES & PRIMROSE BRIGHT JOSEPHINE BRIGINSHAW THE HON JOHN CAIN & NANCYE CAIN ANNE CAWSEY ANONYMOUS ARC ONE GALLERY BETTY CRANWELL ROSEMARY & ALAN CROSTHWAITE ROSIE CUNNINGHAM JENNY DUNSTALL VIRGINIA & ROBIN GORTON YNYS GRECIAN ELISABETH GUINESS OWEN HARRIS JOHN HARRISON SUE HEWITT RICHARD HILTON MEREDITH HINCHLIFFE DR ALEXANDRA MERRETT & RICHARD HOAD DR IRENE IRVINE BARBARA A JACOB GRAHAM JOHNSON ALISON LESLIE MARTINE LETTS JANET LIMB ANGELA & ALAN MAGUIRE KIRSTIN MATTSON & JOERG RAICHLE MARGARET MAYO LYNNE MCALISTER KAY MCVEY MARGOT MELZAK MARGIE PATRICK TIBBY PETERSON ANTHONY P PRESTON IAN RENARD AM & DIANE RENARD ALEXANDER ROBERTSON OAM MR G.W. SINCLAIR DOROTHY TOPFER JAN WALLAGE URSULA WHITESIDE

GIVE AN INCH ANNUAL APPEAL Donors $200 — $499

DARVELL HUTCHINSON AM VALERIE KIRK FRANK & BARBARA LEWINCAMP JUDY MATEAR DIANA MORGAN JAMES & ANNE SYME ROBIN SYME AM & ROSEMARY SYME OAM DR DIANE TIBBITS NOEL & JENNY TURNBULL CYNTHIA WAGG ROSLYN WEBSTER PERA WELLS

ANONYMOUS (1) KAY & PETER BAILEY MAUREEN BARDEN SHERRYN BATTERS MARGARET CASH IAN CLOSE & SUE HARRIS SUE CUNNINGHAM PAUL & ROS ESPIE FLEUR GIBBS LOUISE GOURLAY OAM MICHAEL & SUSAN HAMSON

GIVE AN INCH ANNUAL APPEAL Donors $500 — $999

JUDY AMERY THE AUSTRALIANA FUND PRO VICE CHANCELLOR SU BAKER AM PETER BANCROFT OAM & MARLYN BANCROFT WILLIAM BOWNESS AO & DIANA HEGGIE AMY BOYD & STEPHEN REBIKOFF MICHAEL BUTCHER DR FIONA CARO ROBYN & TONY CASS ANN COLE CHRISTINE & JOHN COLLINGWOOD CONVERGENCE DESIGN AUSTRALIA MAVOURNEEN COWEN JO CROSBY & CAREY LYON GINA & TIM FAIRFAX AC LESLEY GRIFFIN HELEN K GROVES SHERENE GUY CAROLINE JOHNSTON PATRICIA MICHELL OAM LISA NEWCOMBE JOHN RALPH AC & BARBARA RALPH RALPH & RUTH RENARD JOHN RIDLEY AM SALLY ROMANES PENELOPE SEIDLER AM LADY MARIGOLD SOUTHEY AC ANTONIA SYME ELIZABETH SYME THE J. PERMSEW FOUNDATION THE ORLOFF FAMILY CHARITABLE TRUST ANGELA WOOD

GIVE AN INCH ANNUAL APPEAL Donors $1000 — $4999

JANET CALVERT-JONES AO & JOHN CALVERT-JONES AM DEBBIE DADON AO ALAN & ALAYNE DAVIES IN MEMORY OF IRENE DAVIES CARRILLO GANTNER AO & ZIYIN GANTNER ROBERT & MEM KIRBY FOUNDATION BAILLIEU MYER AC LADY PRIMROSE POTTER AC LYNN RAINBOW REID AM & JOHN REID AO MARGARET ROSS AM & IAN ROSS

GIVE AN INCH ANNUAL APPEAL Donors $5000 +

We would like to give our most sincere thanks to everyone on our honour roll. The ATW could not have achieved all that we have without the generosity of an extraordinary community of clients, donors, supporters, friends and volunteers.

KERRY BIRAM NEVA HOPPENBROUWERS CATHERINE LINTON ROSE MAURICE ANGELA ROSSITTO ELIZABETH VAN HERK SUSAN WARDLE JENNI WALKER

General Volunteers

ALEXANDRA MERRETT (CONVENOR) KAY BAILEY CAROLINE JOHNSON JOAN KORN PHILLIP NORRIS ANGELA VARY JAN WALLAGE

Friends Committee

NANCYE CAIN ANN (TUPPY) COLE STEPHANIE COOTE ELIZABETH GIBSON PAMELA-MARIE GRAHAM SUZANE HAYMES PAM HENDY HELEN LANE CHRISTINE MATTHEWS DELWYN POYSER MAVIS SHEEDY GERALDINE SHERIDAN JENNY TURNBULL ROWENA VON MOGER HELEN WASHINGTON JO WILSON

Busy Bees

JAN WALLAGE (COORDINATOR) KAY BAILEY CAROLYN BERGER MARGARET CROTHERS MARION HARRIS JANET LILLEY PHILLIP NORRIS

VOLUNTEERS Guides

ANZAC CENTENARY ARTS & CULTURE FUND CITY OF PORT PHILLIP CREATIVE PARTNERSHIPS AUSTRALIA CREATIVE VICTORIA DEPARTMENT OF FOREIGN AFFAIRS & TRADE

GOVERNMENT SUPPORTERS

ALLENS-LINKLATERS (ARTHUR ROBINSON & HEDDERWICKS) ARCHITECTURE MEDIA BALL & DOGGETT ELGEE PARK WINES ENVELOPE GROUP GOLLINGS PHOTOGRAPHY HOLDING REDLICH LANDER & ROGERS MOUNTAIN GOAT BEER SOFITEL MELBOURNE ON COLLINS SOUTHERN COLOUR STARWARD WHISKY SYDNEY OPERA HOUSE THE STRATEGY SHOP

CORPORATE & IN KIND SUPPORTERS

PAPER STOCK PARTNERS

PRINT PARTNERS

BRAND STRATEGY, MARKETING AND DESIGN PARTNERS

EVENT PARTNERS

TAPESTRY DESIGN PRIZE FOR ARCHITECTURE PARTNERS

FUNDING PARTNERS

AUSTRALIAN TAPESTRY WORKSHOP 2018 MAGAZINE

AUSTRALIAN TAPESTRY WORKSHOP