SLOT20

FOREWORD

Catherine Benz

In 2003, SLOT first pulled up its roller shutter and presented art to passers-by on a traffic-choked road in a gritty urban part of Sydney. In the ensuing 20 years that this artist-run window gallery has operated, grittiness has given way to gentrification while many other artist-run spaces in Sydney have come and gone.

SLOT has lasted the distance and remains uncompromisingly independent, beholden to no funding bodies, committees or gatekeepers. It has stayed true to its credo that all art deserves to be seen and that art should be part of daily life. Lack of an artist’s CV or money is no barrier to getting a show. In a city such as Sydney, this is very rare indeed.

Over 200 artists have exhibited on Botany Road so far, relishing the freedom SLOT offers to experiment with ideas and share

them with anyone who cares to stop and look through the window.

SLOT20 celebrates this 20-year milestone with a selection of 20 installations reassembled at Delmar Gallery. Many of these works are by Southeast Asian artists, testament to SLOT’s success in building connections with the art of our region. This catalogue completes the exhibition with a listing of all the installations realised to date in this 2.5 x 3 m window, and the artists and curators involved. As is clear from both Tony Twigg’s personal account of its history and Rebecca Gallo’s essay, the collegial, social and neighbourly impulses of SLOT are what defines it. SLOT is the sum of all those conversations it enables between the artists, their works and the passers-by.

Delmar Gallery is proud to present this survey exhibition and acknowledge the substantial contribution SLOT has made over the last two decades to Sydney’s cultural landscape.

Annelies Jahn + Jane Burton-Taylor

Bearing witness 2022 [SLOT 207]

Previous page

Russell Jeff Picture 2015 [SLOT 126]

SLOT: A HISTORY

Tony Twigg

In 2002, Ray Hughes asked me to bring an exhibition of paintings to his gallery from my friend Charlie Co, a celebrated Filipino social realist painter. Along with Charlie’s show, I delivered an exhibition of Filipino abstract painting. I added a suite of my own constructions to paintings by my friend Gus Albor, and cardboard collages by Roberto Robles, whose work I had come to admire at Galleria Duemila where my own work is exhibited in Manila. With these shows completed I began imagining that I would need a gallery to go on exhibiting the art of my Filipino colleagues in Sydney. A vain fantasy! – until I realised that there was already a gallery, the front window of my studio, a shop at 38 Botany Road Alexandria. Gina Fairley, a fellow traveller with an insatiable curiosity about art, joined the project and SLOT was born. The ambition became, and remains, to engage with the art of

the neighbourhood, the one around Redfern and the one around Southeast Asia. A wall was built, the ceiling fitted, a door contrived and lights installed. The first exhibition, a collection of my drawings, opened as I left for Manila to set up an installation at Pinto Gallery in October 2003. The second show was an installation by Catriona Stanton, an Australian artist and friend. As I was returning to Sydney from Manila my friend and artist Hermisanto handed me a tightly rolled wad of drawings, and they became SLOT’s third show.

SLOT proposed that the distance between the Philippines and Australia could be negated with installations delivered as emailed instructions, to be realised by SLOT. Junyee, the grandfather of Filipino installation art is the only artist to act on the proposal and emailed one of SLOT’s most memorable early shows, Separate reality, as two jpegs and a few lines of text.

After moving to Alexandria in 2000, I watched with interest the interventions of a sign

painter. He left hand-written signs offering the essentials of a transient lifestyle: a bed, a TV, a washing machine for sale, written on pieces of junk littered around the neighbourhood. Watching, photographing and collecting them revealed that they were far from littered – they were most observantly placed in the urban environment. In a couple of months, enough had been collected for a show, which was exhibited a few months later.

There was no response to a text sent to the sign painter saying his show had opened but one morning a pile of rubbish was mysteriously stacked in front of SLOT. It was art rubbish. And of course, it was delivered by the sign painter. There was a framed print of a Degas painting, faded to a lightdamaged blue, an empty frame already rusted, disastrous and discarded paintings on canvas, drawings, empty stretchers and much more, all stacked with great and possibly intuitive consideration. The splendid intervention remained in place and then, curiously, people began removing elements – presumably taking the rubbish home, to once again venerate it as

art, unwittingly confirming the sign-maker as an artist with an alchemist power and SLOT as his agent.

Working in the studio behind SLOT, I noticed people pause to read the catalogue notes on each show posted on the glass door to the old shop. I guessed that they also paused to consider the works while they waited for their order from the take-away restaurant next door. In the street, I noticed people turn their heads, without breaking stride, to view the shows as they walked past. Late one winter night,

Sign painter of South Sydney Untitled sign, Botany Rd, Alexandria 2004

Sign painter of South Sydney

Homemade modernism 2004 [SLOT 10] with additional remarks by the artist

walking home down Regent Street, a street of dark shuttered shops, I saw a single figure standing, gazing into the light of SLOT – I thought, warming the bones at the hearth of humanity. Once, someone slipped a note of thanks under the door; the butcher across the road became an art critic; and people mentioned gladly being caught in traffic at the lights on Botany Road because it gave them a chance to check out SLOT – the point being that SLOT was bringing art to people who would not normally think of going to an art gallery and doing it in a way that made art part of a life experience as opposed to a discrete cultural experience. Occasionally, the cognoscenti noticed. After an opening one night, I was sitting in a restaurant next to Tony Bond, then curator of contemporary art at the Art Gallery of New South Wales, who explained to me that he viewed SLOT from a car on his way to the airport, and as if to prove his point, went on to lucidly discuss the last six months of SLOT shows. After a while, people started asking how they might show at SLOT. The answer was, and remains, simple: send an email describing

what you would like to do, attach some photographs of your work, there is no fee to exhibit – and sadly no fee paid to exhibitors, SLOT will get back to you with a date.

Over time, saying yes evolved from an inclination to an article of faith. In its history, SLOT has said no once, to a high school friend of my nephew. I can’t remember why but I regret it, because, while it is ridiculous to say that all art is equal, it is far from ridiculous to believe that all art has merit and so every art should have its turn.

Without question, the most luminous artist to show in SLOT is Roger Foley AKA Ellis D. Fogg, the creator of psychedelic light shows that illuminated the Counter Culture. This is the ideology that underpins the ethos of SLOT. Another reference is Tony Coeling’s Avago, a tiny window he maintained next door to Roslyn Oxley’s first gallery, the largest and coolest in 1980s Sydney. Tony Coleing offered the magnificent invitation to have a go and like his window, SLOT celebrates art made by everyone and art made for everyone.

But despite SLOT’s overt egalitarianism it is hard to find the shows that disappoint. Perhaps this has something to do with the space - it invites a single large work, as Tony Bond described “it’s the Roslyn Oxley of window galleries” where there are few physical limitations and no intellectual constraints.

Between these shows, others made works to accommodate SLOT’s proportions.

It was thrilling when Merilyn Fairskye asked to put up a show. Other artists followed: Ian Millis made two installations; Richard Tipping exhibited some photographs; Charlie Cooper put up a painting; Andrew Leslie tailored one of his optical works to fit SLOT; Christopher Hodges made an illuminated installation; Isabel and Alfredo Aquilizan contributed three installations culled from their much larger museum works; Billy Gruner exhibited posters announcing exhibitions in another time and place; Joe Frost painted a mural of the other side of the street; and Ruark Lewis installed Banalities of a perfect home across the entire facade of the building. These are the landmark exhibitions. Generally speaking, these artists bent SLOT to accommodate existing works.

Loris Quantock, a school teacher who had developed a way of recording her bushwalks in meditative constructions made from twigs collected along the way, made one such piece that traversed SLOT side-to-side. Stephen Flanagan began by asking, “I’m not an artist but how can I show in SLOT?” and went on to produce a fascinating installation made from blueprints he had salvaged from an abandoned factory further down Botany Road. Russell Jeff knocked on the studio door asking if I would like to look at his paintings – of course, yes,

Stephen Flanagan

No fork 2 018 [SLOT 164]

Opposite Loris Quantock

33/59.4 south – 151/13.9 east 2009 [SLOT 62]

SLOT is interested in looking at all art. He was living on the “rock-n-roll” in the Waterloo Housing Commission towers and his story told of life as a discarded individual. His abstract paintings in contrast presented the image of an individual in command of a single vision at peace in its rendering. He produced a work for SLOT at the size of SLOT, glorious in its spiritual warmth and intellectual rigour – a clear triumph. Since then, we run into each other around the neighbourhood – he found a job working at a bakery in another suburb, still lives in Waterloo and seems a happy man. There would be few parables that illustrate

as succinctly the virtue of social inclusivity over exclusivity.

Juni Salvador is one of the more enigmatic artists associated with SLOT. I had seen and admired his work in Manila but not met him until he arrived in Sydney with his children and his wife Edna who had come here to help set up a Montessori school on the upper north shore. Juni never found his way into the Sydney art world but in Manila he is part of a coterie of artists who were taught and influenced by Roberto Chabet, a celebrated and insightful Filipino conceptual

Russell Jeff Picture 2015 [SLOT 126]

Opposite

Juni Salvador

Fairy lights and fairy fails 2018 [SLOT 167]

artist. Between trips back to Manila to make and exhibit his work, Juni contributed four revealing autobiographic works to SLOT that focussed on his Australian experience. As I watched these works evolve, I realised that he was devising a kind of installation that was idiosyncratically SLOT’s. Here a work occupies both wall space and floor space in a casual and spacious arrangement of elements. It’s clean with a theatrical presence that, like a diorama, is designed to be isolated in a vitrine. When Juni was returning to Manila, I commented on this by saying that I could see his and Chabet’s influence in other pieces being made for SLOT. He replied simply, “You noticed Tony”. It delights me to see in art a Filipino train of thought being shared locally through SLOT. It’s a grand claim but probably a true one that demonstrates SLOT’s successful interaction with its neighbourhood, around Redfern and in South East Asia.

Bellemore, Victoria Demafeliz, Gina Fairley, Leah Haynes, Pat Hoffie, Glenn Locklee, Mai Nguyen-Long, Ian Milliss, Constantine Nicholas, Sophie O’Brien, Emma Smith, Tracy Tucker and Chloé Wolifson. In 2015, Anie Nheu joined the project as collaborator. Since then, she has attracted many artists to SLOT, men and predominantly women who have produced individualistic and clearly resolved works while maintaining both a family and a job. Their lifestyle is a reflection of our contemporary society’s opportunities and expectations. The quality of their work however is a measure of their resolve that art should be made and shared. A resolve that SLOT shares, unreservedly.

Valentine Brown

(The new chum) c1980

Opposite

Valentine Brown, William Gaudinez

Romancing the colony 2017 [SLOT 153]

SLOT is not all my own work. Beyond the artists who are central to the project I have been assisted by friends and colleagues working as administrators, curators and web-masters, they are: Warren Andrews, Alex

Page 16

Isabel and Alfredo Aquilizan

Passage, another country 2017 [SLOT 154]

Page 17

Keiko Matsui

Scar vessels 2017 [SLOT 150]

A SERIES OF OPENING LINES

Rebecca Gallo

Surveillance supplies – Something shuttered and empty-looking – A laundrette – Education agent (whatever that is) – A butcher – Takeaway joint – Variety store – Padded-wall kickboxing gym – Tobacconist

A brightly-lit window: thick-looking white paint, cracked in the corners from years of repainting, white on white. Dark brown floor tiles, a double powerpoint, large hinges stitching one corner together. A black vinyl logo on the window that’s been scratched into – lines and numbers, something rough, some unsolicited collaboration. Outside, the bricked footpath is littered with dry plane tree leaves that crunch underfoot. Traffic, always on this one-way street. Cars and trucks, and also (but with less density) pedestrians. It’s quiet at night.

Tony Twigg’s studio, at the intersection of Alexandria, Waterloo and Redfern, has a skin that faces the street, and for twenty years it has been dressed by other artists. Paint the walls, hang the work, talk to the artist, write about it, share it. Repetition and consistency. It’s how to get good at something, how to build skills, develop a practice. Doing it over and over again until it’s automatic, until it’s muscle memory, for twenty years, every month or so, a rhythm. Paint, hang, talk, write, share. It’s how you become an expert. It’s how you build something: a wall, a practice, a community. Consistency. Paint, hang, talk, write, share. It’s how passers-by get to know what art is, come to have feelings and opinions about it, an investment in it. Exposure, repetition, comparison: this work with last month’s work. What makes you feel something? What makes you angry, what do you walk past without really noticing, what work hits you in the guts before you know why?

SLOT is both a kind of offering and a protection, a closing in and an opening up. Tony’s space isn’t quite open to us, but a semipublic zone is created between studio and Joe Frost

Botany Rd Figures 2012 [SLOT 88]

street. Run by Tony Twigg and Gina Fairley from 2003-2014, then Tony and curatorial collaborator Anie Nheu since 2015 as well as guest curators over the years, SLOT is social and collegial. It shifts the meaning of the studio, quietly refuting the myth of the sequestered lone artist. It’s neighbourly. It’s a series of opening lines, the start of a conversation offered over and over again to the street.

an email, slip a note under a door or stop in for a chat. There has never been a ‘callout’ for proposals in the traditional sense but SLOT’s inbox (and door, metaphorically) has always been open. And they have only said no to a proposal once. Ask, and you shall receive an audience with Botany Road.

And this space is for anyone who wants to show there: for a while it was mostly friends and colleagues, people who were invited in. Then locals who enquired, artists who got wind, anyone with the confidence to send

SLOT operates differently to most artistrun spaces. These independent, grassroots groups of artists making space for other artists often echo, to varying extents, the structures of larger art institutions like commercial galleries, council- and state-run art spaces. Sometimes systems are deliberately borrowed, but often they are imprinted by proxy or

Vienna Parreno

War on Warhole 2009 [SLOT 60]

Opposite Pamela Leung

Sorry I no understand 2018 [SLOT 160]

dictated by funding requirements. These can be at odds with artists’ own values. Artist-run spaces are complex and varied, generous and important. They do often end up gatekeeping in spite of themselves (curating a program to often opaque criteria), and they are a lot of work, so burnout is common. SLOT has, to a large extent, circumvented these pitfalls. It is completely independent: no funding applications or acquittals, no explanations or quantifying required. The system is deliberately simple. This is not to say that it’s not a lot of work – the maintenance of any space with an exhibition program takes time and energy. And access to long-term, stable real estate in Sydney is obviously very helpful here, and increasingly rare. But SLOT does not seek expansion, slickness or curatorial oversight. It seeks to start conversations between artists, their works and the street.

mean heat and humidity control; on a cultural and aesthetic level, white walls and a sense of exclusivity, significance. Even for public galleries, audiences are self-selecting: not everyone chooses to visit these spaces, or feels like it’s for them, or has time and energy for it. The potential audience shrinks dramatically when it comes to commercial and artist-run spaces. People need to know these spaces exist, where they are and that they are open, before we even get to feeling comfortable entering them. Art also happens outside of these spaces: there is public sculpture, art in the lobbies and courtyards of major developments. Art that happens in home studios, in bedrooms, on people’s tablets or computers and is seen by few, if any. Art that is thrown up on the side of a building, or a train, or another piece of public infrastructure.

SLOT sits at the interface of public and private space, and locates itself between a range of modes for displaying and viewing art. As much as art seeks an audience, it also hides from it by requiring particular conditions for its display. On a practical level, this might

SLOT is related to all and yet is none of these things. It is on the street and visible 24/7. It’s not unsanctioned in the way that street art is, but it’s independent and democratic, and includes work by plenty of folks who wouldn’t call themselves artists. I doubt SLOT’s caretakers like all of the art that is shown

Alexander Jackson Wyatt Closed for reinvention 2018 {SLOT 100]

Poklong Anading

Untitled (gaze) 2007 [SLOT 42]

Opposite

Adam Laerkesen

My song is not your song 2018 [SLOT 161]

there, and I think this is part of the point: they are facilitators, not arbiters of culture.

A SLOT caretaker writes about almost all of the exhibitions at SLOT. This writing demonstrates time spent with the work and (where possible) the artists, and reveals a depth of consideration: they place the work in broader contexts, and really seek to understand why each artist does what they do. These writings also reveal things about SLOT itself, like this from Tony’s piece about Julie Green’s 2021 exhibition:

“It might be a long bow to draw but in an art work there is a marriage between the artist and the viewer. Each arriving at roughly the same spot from different directions. For a moment caught in a single image before departing on divergent paths, each carrying perhaps, for a while at least some echo of their shared meditation.”

a shopfront window that is forever offering, but never trying to sell you anything. Most of these encounters are small and unremarkable, and some cut through the traffic and noise and echo all the way down Botany Road.

This is what SLOT has been offering to the street, and to its surrounding community, for twenty years. A spot where encounters take place over and over again between artist, artwork and viewer; a moment of looking into

Rebecca Gallo is an artist, writer and producer who lives and works on Gadigal land and has been involved with artist-run spaces since 2014. They are a former director of Archive_ ARI which operated in Newtown, and a founding co-director of Pari, an artist-run space on Darug land in Parramatta.

Ruark Lewis

Banalities for the perfect house 2007 [SLOT 37]

Page 28

Jayanto Damanik Tan

Warung Peranakan Waginem 2019 [SLOT 171]

Page 29

Christopher Hodges

I’m dreaming 2018 [SLOT 169]

Roberto M.A. Robles

From the old pond I ponder (detail) 2007 [SLOT 34]

Opposite H.R. Ocampo, Gus Albor, Tony Twigg, Roberto M. A. Robles, MM Yu

Abstract art in the Philippines 2010 [SLOT 63]

Nglam Lzacy Tie

from KL kartoon kids: art from KL 2006 [SLOT 33]

Opposite

Melbourne Aquino

Pinoy Cubism 2017 [SLOT 156]

Wong Perng Fey

Wo hui teng ni hui lai 2010 [SLOT 64]

Opposite

Tracy Luff

Passing through 2022 [SLOT 205]

EXHIBITION CHRONOLOGY

2003

1. Tony Twigg – Sugar ballad pages

2. Catriona Stanton – All strung up

3. Hermisanto – Fire dancer

2005

14. Andrew Smith – Nocturnal tourist curated by Sophie O’Brien

15. Daniel Egger – Experience in being: accountability curated by Sophie O’Brien

16. Vanessa Armitage, Nina Field, Alex Lawler, Michael Stuetz, Emma Smith –Narcissus saw a fish curated by Tracy Tucker

17. Nick Strike – Orange light changing curated by Emma Smith

2004

4. Constantine Nicholas – Endgame

5. Junyee – Separate reality

6. Rita Bila – All the glow is blinding

7. Bogie Alvarado – Paintings curated by Victoria Demafeliz

8. Tony Twigg – Grove / incidental placement

9. Jake Walker – Just for fun - forever

10. Sign painter of South Sydney –Homemade modernism curated by Tony Twigg

11. Cath Bowdler – Gridlock

12. Merilyn Fairskye – Exposure

13. Mai Nguyen-Long – Still life

18. Joanne Linsdell – Tangle curated by Leah Haynes

19. Northcott Tenants – Tenant by Tenant curated by Leah Haynes

20. Ian Millis, Norma Cherry, Guo Jian –Chinese whispers curated by Ian Millis

21. Marina Dearnley – Tribal tapestries from the urban jungle curated by Leah Haynes

22. Mim Stirling – holga no sakuhin curated by Emma Smith

23. Andrew Hewish – Scenes from Aladdin curated by Emma Smith

2006

24. Kate Dorrough, Lucinda Chambers –The garden curated by Emma Smith

25. Stuart Watters – curated by Leah Haynes

26. Constantine Nicholas – A light ozonepages from Transactions Vol. IX

27. Billy Gruner – Secession poster no. 3, 4 & 5

28. Isabel + Alfredo Aquilizan – Re-maKE

29. Diokno Pasilan – KGB - Kind Gong Band

30. Marina Dearnley – Mandalas from the metropolis

31. Constantine Nicholas – A light ozonepages from Transactions

32. Tony Twigg – Fish boxes

33. Ise, Nglam Lzacy Tie, Razman, Zaslan, Paiman – KL kartoon kids: art from KL curated by Tony Twigg

2007

34. Roberto M.A. Robles – From the old pond

I ponder

35. Rachel Apelt - Nett

Hermisanto + Tony Twigg

2003=2013 [SLOT 107]

36. Tony Maranon – Sculptors of Iloilo, curated by Tony Twigg

37. Ruark Lewis – Banalities for the perfect house

38. Poklong Anading, Christophe Atabekian, Yap Sau Bin, Mathew Carver, Lena Cobangbang, Luisito “Louie” Cordero, Mideo Cruz, Nami Dunham, Hayati Mokhtar, Nguyen Huy Nhu, Vienna Parreno, Nguyen Minh Phuoc, Milenko Prvacki, Norberto Roldan, Suellen Simmons, Laurens Tan, Richard Tipping, Cecilia White, Su-Ann Wong –Cropped curated by Gina Fairley

39. Claire Martin – Blockbusters of 20th century art

40. Tony Twigg – Expanded disc, spindles

41. Chris Eyre-Holmes – A collection of spoons

42. Poklong Anading – Untitled (gaze)

43. Mai Nguyen-Long – Dag girl & baby in box 2008

44. Paul Shopis – Geometric constructions

45. Haslinda Abdul Rahman – Drawings

46. Abdul Multhalib Musa – Involute

47. Tracy Luff – Rising tension

48. Sach Catts – Unicycle performance

49. Ian Millis – Darwin in Wallerang (an e9olution of stools)

50. Kinky Lamps – A collection of Filipino lamps curated by Tony Twigg

51. Gerry Tan + David Griggs –Skateboard drawings

52. Tony Twigg – Throughway 2009

53. Rita Bila, Marina Dearnley, Merilyn Fairskye, Junyee, Mai Nguyen-Long, Tracy Luff, Ruark Lewis, sign painter of South Sydney, Tony Maranon, Ian Milliss, Constantine Nicholas, Tony Twigg – SLOT 5 years 50 windows, anniversary windows project curated by Gina Fairley

54. Match Box Projects – People to people, place to place

55. Goran Tomić – (Bolshoi)

56. Juni Salvador – Anonymous

57. Jumaadi + Mawarini – Cerita

58. Mai Nguyen-Long, Dominic Golding, Van Thanh Rud, Kelly Manning –Artists of the 17th Parallel curated by Mai Nguyen-Long

59. Gabrielle Bates – Cardboard voyage

60. Vienna Parreno – War on Warhole

61. Pat Hoffie – Fully exploited labour

62. Loris Quantock – 33/59.4 south151/13.9 east 2010

63. Gus Albor, H.R. Ocampo, MM YU, Roberto M. A. Robles, Tony Twigg –Abstract art in the Philippines curated by Tony Twigg

64. Wong Perng Fey – Wo hui teng ni hui lai

65. Tony Twigg – Night ride

66. Charles Cooper – Circling the block

67. Gail Kenning + Sue Pedley – You are here

68. Geoff Harvey – Temples, towers and minarets

69. Joy Hopwood – The joy of life

70-74. Here and there, Griffith Project curated by Pat Hoffie

Gerry Tan + David Griggs

Skateboard drawings 2008 [SLOT 51]

70. Arryn Snowball – The gnawing to be naught, never to be naught

71. Abraham Jr. Ambo Garcia – BH (bring home)

72. Eric Rossi – Vanuatu

73. Jennifer Herd – Untitled

74. Zoe Porter – Part V

75. Isabel + Alfredo Aquilizan – In-flight

76. Ian Fairweather, John Clegg – Post curated by Tony Twigg

2012

88. Joe Frost – Botany Road figures

89. Anwyn Crawford + Emma Davidson –Concrete poetry

90. Two Generations (Jiang Weitao, Island6) – Redgate in Redfern

91. Sarah Nolan – Nearly there

92. Pat Hoffie – Smoke and mirrors

93-98. Exhibitions curated by Chloé Wolifson

2013

101. Richard Tipping – Urban animals

102. Susannah Williams – Experimental drawing projects in parts

103. Roger Foley-Fogg + Jess Cook –Light collaboration

104. Leanne Waterhouse – Solitary cohabitation revisisted

105. Diokno Pasilan – Ballarat ID

106. Megan Hanson – Hey and Co.

2011

77. Ian Gentle – Low life

78. Mike Ladd – The eye of the day

79. Susannah Williams – To my dear mix II

80. Ingrid Dernée – Drawing as performance

81. Roger Foley-Fogg – Together

82. Elise Polito – Planes and voids

83. Michael Downs – Beijing swirl

84. Mai Nguyen-Long – Red dream

85. Tracy Luff – Returning

86. Juni Salvador – Boomerang … neither here nor there

87. William Gaudinez – Ode to Lemuria

93. Astra Howard – The heightened drawing program

94. Garry Trinh – Within walking distance

95. Will Coles – Memorial to the unknown armchair general

96. Kenzee Patterson – Not only biologically sound and environmentally safe, but also socially and aesthetically acceptable

97. Marilyn Schneider – Epic Tourbillion

98. Gregory O’Brien – Conversation with Rosemary Dobson on Raoul Island

99. Judy Bourke – Positive paper screen

100. Alexander Jackson Wyatt – Closed for reinvention

107. Hermisanto + Tony Twigg – 2003=2013

108. Ida Lawrence + Eko Bambang Wisnu – Nge-Kost

109. Charlie Cooper – Sea change

110. Camille Seriser – Fringe dwellers 2014

111. Lisa Woolfe – Coppice 4.0

112. Julia Kennedy-Bell – Paper knots

113. Tony Twigg – Found object-hood

114. S.A. Adair – No conclusion

115. Roger Foley-Fogg + Jess Cook – Light collaboration 2

Mai Nguyen-Long Red dream 2011 [SLOT 84]

116. Janice Fieldsend, Marie McMahon –Two artists go for a walk of Kamay (Botany Bay)

117. Judy Bourke – e Waste

118. Sue Bessell + Joni Braham –(Interruption)

119. Arthur Apanksi – Excess and hope for little Ethan

120. Jayanto Damanik Tan – Strange fruit

121. Religious and meta-religious art in South East Asia – curated by Tony Twigg

122. Suzy Evans – Gomeroi attacking Major Mitchell and his native companion

123. George Burchett – Democracy

130. Janice Fieldsend – The living sparkle (Fieldwork #2 Kamay / Botany Bay)

131. Susannah Williams – Departure drawings

132. Sue Pedley + Gail Kenning – There’s room in my house

133. Trek Valdizno – Give me space and don’t tell me what to do

134. Anne Ooms + Catriona Stanton –Devil dodger

135. Anie Nheu – The elephant in the room 2016

136. Kathryn Orton – Out of the ordinary

142. Jayanto Damanik Tan + Tony Twigg –Garden arrangement

143. Yiwon Park – Story of story

144. Jack Frawley – Let slip the dogs of war

145. Charles Cooper, Maryanne Coutts, Lynne Eastaway, Nicole Ellis, Pia Larsen, Frank Littler, Wendy Murray, Margaret Roberts, Tony Twigg – Flag wavering curated by Pia Larsen + Charles Cooper

146. Li Wenmin – Contemplative shadows

2015

124. Jamie Maxtone-Graham – State of youth

125. Wendy Bornholdt – Low tide

126. Russell Jeff – Picture

127. Maryanne Coutts – Dress code

128. Roger Foley-Fogg – Psychedelic mandalas

129. Marie McMahon – Zonation

137. Pennie Pomroy – At first glance

138. Marius Moldvaer – Those things I told you in twilight that amazed us both curated by Luisa Tresca

139. Roger Foley-Fogg – Mandala

140. Jenny Pollak – Mapping home

141. Anna Jaaniste – I am here (lightning and shield)

2017

147. Lynn Cook – Orange and blue

148. Marlene Sarroff – You get what you choose

149. Glenn Locklee – Silent witness

150. Keiko Matsui – Scar vessels

151. Pia Larsen – Their loss is our loss

152. Janice Fieldsend – Funkytown discotheque series

153. Valentine Brown, William Gaudinez –Romancing the colony

Suzy Evans

Gomeroi attacking Major Mitchell and his native companion 2014 [SLOT 122]

154. Isabel + Alfredo Aquilizan – Passage, another country

155. Tony Twigg – To paint?

156. Melbourne Aquino – Pinoy Cubism

157. Jack Frawley – Blessed

158. Kathryn Cowen – #otherworlds

2019

170. Jonathan Thomson – Gilded youth

171. Jayanto Damanik Tan – Warung Peranakan Waginem

172. Julian Twigg + A. Twigg + Tony Twigg – Twigg x3 curated by Tony Twigg

184. Tony Twigg – Performing, the absent 5th

185. Suzy Evans – Open

186. Lisa Pang – The crossing 2020

187. Anya Pesce – Rupture

188. Rochelle Summerfield –Doomed innocent

2018

159. Ana Pollak – Towers

160. Pamela Leung – Sorry I no understand

161. Adam Laerkesen – My song is not your song

162. Sally Clarke – The wonder quilt

163. Jenny Pollak – Dictionary of love and loss

164. Stephen Flanagan – No fork

165. Mark Dubner – Progeny

166. Suellen Symons – Redfern, then and now

167. Juni Salvador – Fairy lights and fairy fails

168. Glenn Locklee – Commute

169. Christopher Hodges – I’m dreaming

173. Anca Frankenhaeuser – The wrapsody of the daily paper

174. Anie Nheu – Paean

175. Ho Bo Jo (Scott Blundell) – Vision river

176. Bryan Fitzgerald – Last train to Banksia

177. Mollie Rice – Worlds above and worlds below

178. Tony Twigg – The idea of subject

179. Pamela Leung – Blossom everywhere

180. Sandra Winkworth – I give to you the Palaces of Montezuma

189. Michelle Le Dain – 20x20 2020

190. Pia Larsen, Charles Cooper – Flagging

191. Carlos Agamez – Dust to dust

192. David Helmers – Thin skinned

Ana Pollak Towers 2018 [SLOT 159]

2020

181. Ro Murray – #Fuelled 1 & 2

182. Guy Morgan – The scorpion’s claw nebula

183. Andrew Leslie – Mirror, number 20

2021

193. Adam Laerkesen – Drunk on the moon

194. Jayanto Damanik Tan – Mantra, I’m a ghost in my own home

195. Freya Jobbins – Firewall number 1

196. Juni Salvador – Sit still and just enjoy the view

197. Joe Frost – Miss Universe 2011

198. Julie Green – Two drawings 2018/2019

199. Jordan Stokes – Changing skins

200. Taring Padi – Solidaritas

201. Indo/Persian miniaturists – The Kama Sutra

202. Jack Frawley – Pandemic

203. Robert Hawkins – I don’t understand what you’re saying - that’s because you’re not listening

2022

204. George Burchett – ME CHONG #1 - 64

205. Tracy Luff – Passing through

206. Kate Coyne – Calm before the storm

207. Annelies Jahn + Jane Burton-Taylor –Bearing witness

208. George Alexander – Naked lunch

209. Suzy Evans – Bengerang

210. Thomas Kuss, Bahman Kermany –Two paintings

211. Kathryn Cowen + Gareth Jenkins –Future nature

212. Janice Fieldsend – Flower painting

213. Anie Nheu – Passing through

2023

214. Chris Casali – Blue note

215. Emido Puglielli – Halves

Janice Fieldsend

Flower Painting 2022 [SLOT 212]

Opposite

Thomas Kuss, Bahman Kermany

Two paintings 2022 [SLOT 210]

LIST OF WORKS

Sign painter of South Sydney

Homemade modernism 2004

[SLOT 10]

Nglam Lzacy Tie from KL kartoon kids: Art from KL 2007

[SLOT 33]

Roberto M. A. Robles

From the old pond I ponder 2007

[SLOT 34]

Tony Maranon Sculptors of Iloilo 2007

[SLOT 36]

Ruark Lewis

Banalities for the perfect house

2007

[SLOT 37]

Poklong Anading

Untitled (gaze) 2007

[SLOT 42]

Loris Quantock

33/59.4 south – 151/13.9 east

2009 / 2023

[SLOT 62]

Gus Albor, H.R. Ocampo, MM Yu, Roberto M. A. Robles, Tony Twigg

Abstract art in the Philippines

2010 [SLOT 63]

Tony Twigg

Found objecthood 2014 [SLOT 113]

Russell Jeff Picture 2015 [SLOT 126]

Roger Foley-Fogg

Mandala 2016 [SLOT 139]

Keiko Matsui

Scar vessels 2017 [SLOT 150]

William Gaudinez, Valentine Brown

Romancing the colony 2017 [SLOT 153]

Isabel + Alfredo Aquilizan

Passage, another country 2017 [SLOT 154]

Melbourne Aquino from Pinoy Cubism 2017

[SLOT 156]

Pamela Leung

Sorry I no understand 2018

[SLOT 160]

Liverpool City Council Collection, Winner - The 65th Blake Prize Emerging Artist Prize

Juni Salvador

Fairy lights and fairy fails 2018

[SLOT 167]

Christopher Hodges

I’m dreaming 2018

[SLOT 169]

Jayanto Tan Warung Peranakan Waginem 2019

[SLOT 171]

Anie Nheu

Paean 2019

[SLOT 174]

Anie Nheu

Paean 2019 [SLOT 174]

Published by Delmar Gallery

in association with SLOT slot.org.au

on the occasion of the exhibition

SLOT20

25 March - 30 April 2023

ISBN 978-0-6483385-2-9

Copyright remains with the artists and authors.

Unauthorised reproduction prohibited.

Photography by Tony Twigg.

Delmar Gallery Staff

Catherine Benz, Curator

Christine Smalley, Gallery Assistant

Elise Harmsen, Gallery Assistant

DELMAR GALLERY

Trinity Grammar School

144 Victoria Street Ashfield NSW 2131 Australia trinity.nsw.edu.au/delmar-gallery

Wendy Bornholdt

Low tide 2015 [SLOT 125]

Page 52

Roger Foley-Fogg + Jess Cook

Light collaboration 2 013 [SLOT 103]

Front cover

Junyee

Separate reality 2004 [SLOT 5]

Back cover

Roger Foley-Fogg

Psychedelic Mandalas 2015 [SLOT 128]