JOEL ARTHUR, ZOE BRAND, BYRD & HANNA HOYNE CURATED BY ROSIE GOLDFEDER
SOMETIMES THERE ISN’T ANYTHING TO GET 7 – 30 January 2015
Instalation views, Hanna Hoyne and Amelia Zaraftis
FRONT from top left l Joel Arthur, Refraction 43, 2014, oil and acrylic on board, 122 x 122 cm (detail), Hanna Hoyne & Ameilia Zaraftis, Apron Project, DO NOT CRUSH tea-towels 2014, Performance Still 1, 21 x 29.7 cm, Byrd, #consciousuncoupling (from the self aggrandizing echo chamber that is meta-slang), 2014, enamel and acrylic paint on aluminium sheets, 370mm x 450mm, image & title: Zoe Brand, “A Failure to Communicate, More or Less” - an ongoing series signs, 2014, powdercoated aluminum, cord 140 Ø x 0.5mm (cord length 50mm)
Installation views Joel Arthur, Byrd, Zoe Brand
“A Failure to Communicate, More or Less� - an ongoing series signs (detail), 2014, powdercoated aluminum, cord 140 ∅ x 0.5mm (cord length 50mm)
SOMETIMES THERE ISN’T ANYTHING TO GET, a phrase chosen from one of conceptual jeweller Zoe Brand’s works, celebrates contemporary art’s accessibility. The portrayal of mundane ephemera in contemporary art gives all viewers an immediate reference point: Arthur’s milk crate, Brand’s powdercoating (the same industrial process use for whitegoods), Byrd’s street clothes and Hoyne’s pegs are things encountered in everyday life. Yet, the statement represents an essential irony. In presenting the text as conceptual jewellery, as art, it is untrue. Contemporary art understanding comes from recognising references and historical connections. Brand’s conceptual work gives little away visually with signs that can be swiftly read and laughed at. The work playfully positions the viewer as subject, with bold phrases that speak to underlying uncertainties. Brand’s Signs challenge the traditional role of jewellery as a signifier of wealth displayed on the body. Instead, the pieces work equally well when displayed on the gallery wall, without reference to the body. The artists in this exhibition are interesting for their distinctly diverse practices, yet shared awareness of their work’s context. Byrd’s practice in particular has evolved from graffiti to sculpture to installation art employing graffiti techniques. Byrd’s practice has long existed within the “make-do culture”, meaning the materials he uses are often site specific, along with the work itself. Byrd’s subjects are either animals with anthropomorphic characteristics or humans with animal characteristics, made familiar by a shared fashion sense with many viewers. This suggests the artist sees the similarities extending beyond clothing. This series of Byrd’s work appears to most closely fit the gallery tradition as portable, technically sophisticated works. Within Byrd’s broader practice, they appear to be a way for the artist to extend his installation work into the collector’s home. In contrast with Byrd’s familiarity through clothing, Hanna Hoyne’s work uses fantastical costumes to make strange the familiar. Hoyne’s series with Amelia Zaraftis features a challenging relationship with the gallery. The focus of the work is a performance outside the gallery. The artist’s work directs the relationship between performer and environment through transformations of the body. They are often amusing, as the performer’s stony expression gives nothing away about the absurdity of their costume. This series features Zaraftis wearing a cape covered in clothes pegs that makes her resemble a giant echidna. The piece has distinct allusions to the female role with the pegs and tea towels reading “do not crush” in one video still. The brilliantly understated work presents striking moments from an ongoing series of performance pieces. Joel Arthur’s paintings are strikingly contemporary yet continue the tradition of still life. Arthur’s work transforms mundane and disposable objects into art through their beautiful rendering, at odds with the traditional exotic subjects of still life. Arthur further explores shifting focus, removing the objects almost entire to emphasise the precise optical patterns of the background. Arthur’s practice manages to be incredibly distinct, while making reference to a broader context of Canberra painters. This easy assimilation of references enables Arthur to quickly move his practice in new and exciting directions. All the artists subvert art/life boundaries, often amusingly, elevating the familiar through their individual practices. They provoke a response, sticking in the mind, and in doing so engage well beyond the gallery.
But then again, sometimes there isn’t anything to get.
Rosie Goldfeder
Joel Arthur, Refraction 43, 2014, acrylic on board, 122 x 122 cm
JOEL ARTHUR I consider the role of perception and illusionism through representation and abstraction. My work began as an investigation of various approaches to the field of still life, observing and describing distortions that occur when looking through glass, water and other refractive and reflective materials. My focus on the optical experience delivered by these distortions and their subsequent translation into painting which became a driving interest. Through my practice I focussed on different modes of description, which have developed in conjunction with a more accentuated abstract pictorial language. These later abstract works consider how an optical experience can be generated in the painting itself, with a remaining importance on materiality and gesture.
No. 42, 2014, acrylic on board, 122 x 122 cm
EDUCATION 2014
Bachelor of Visual Arts Honours, Australian National University
EXHIBITIONS 2014
Graduation Exhibition, ANU School of Art, Canberra
2014
Works On Paper, Photospace gallery, ANU School of Art, Canberra
2014
The Beat Goes On, ANU School of Art, Canberra
2014
Random 2014, ANU School of Art
2013-2014
Work on display, Drill Hall Gallery, Canberra
2013
Play Nice, You Are Here Festival, Canberra
2013
Graduation Exhibition, ANU School of Art
2013
Random 2013, ANU School of Art
2013
Uncommon Ground, Honkytonks, Canberra
2013
Friday On My Wall: Joel Arthur, ANU School of Art
2012
Decked Out, Canberra Framing Gallery
AWARDS 2014
Peter & Lena Karmel Prize – Best graduating student
2014
Canberra Contemporary Art Space Residency
2014
Legislative Assembly Prize
2014
Sydney Canvas Company Materials Award
2014
EASS ANU Art Collection Award
2014
EASS Bradley Allen Love Acquisition Award
2014
EASS KPMG Acquisition Award
2013
EASS ANU Art Collection Award
RESIDENCIES 2015 Canberra Contemporary Art Space
COLLECTIONS Australian National University and various private collections
No. 44, (top) No. 45, 2014, acrylic on board, 122 x 122 cm
ZOE BRAND I see possibility in mundane, everyday throwaway statements. I collect, examine and remove them from conversation and build the text into signs. I wonder how a sign is read when the context of its placement changes from wall to body?
“A Failure to Communicate, More or Less” - an ongoing series signs (detail), 2014, powdercoated aluminum, cord 140 ∅ x 0.5mm (cord length 50mm)
Zoe Brand started her professional career selling rather expensive writing instruments and occasionally the odd pencil in her hometown of Brisbane. Needless to say this wasn’t awe inspiring stuff, so in 2005 she moved to Sydney and it was there that she found her calling, the making, wearing and viewing of contemporary art jewellery. Since then she has graduated with an Advanced Diploma in Jewellery and Object Design, worked in galleries, made some jewellery, curated shows, written words and drunk plenty of beer. Zoe is currently studying a Bachelor of Visual Arts majoring in Gold and Silversmithing at the Australian National University in Canberra.
Zoe Brand is represented by Bilk in Canberra. EDUCATION 2013 – 2014 2006 – 2008
Bachelor of Visual Arts (Gold and Silversmithing), Australian National University Advanced Diploma in Jewellery and Object Design Design Centre, Enmore, TAFE NSW – Sydney Institute 2005 Short Course in Jewellery Making, College of Fine Arts, NSW SELECTED GROUP EXHIBITIONS 2014 ‘Encounter’ – Bilk Gallery, Canberra 2013 ‘Words and Works from a World Away’ – RMIT Gallery, Melbourne 2012 ‘Once More, With Love’ – Studio 20/17, Sydney, NSW & Bilk Gallery 2012 ‘Very Simple Proofs, The Trivial Ring’ – Studio 20/17, Sydney 2011 Places and Spaces – Cudgegong Gallery, Gulgong 2011 Touch, Pause, Engage – Object Space Auckland, New Zealand 2011 The Company We Keep – Object Gallery Sydney 2010 The Box Project – Keeper Gallery @ Gaffa Gallery Sydney 2010 Winter Brooches – Studio 20/17, Sydney 2010 Fidelity – Gaffa Gallery, Sydney 2010 Emerging Sydney Jewellers Showcase – Jam Factory Adelaide 2008 PinUp – Danks Street Depot I and II Sydney 2007 The Metalab Collective – Metalab Gallery Sydney SELECTED CURATORIAL WORK 2012 2006 – Studio 20/17, Sydney, NSW 2010 First & Last – Keeper Gallery @ Garra Gallery Sydney 2010 re:production – Keeper Gallery @ Garra Gallery Sydney 2010 Precious Material – Keeper Gallery @ Garra Gallery Sydney 2010 Homework – Mark Varrwerk – Keeper Gallery @ Garra Gallery Sydney 2009 FEAST – hosted by Studio 20/17 – The Depot Gallery 2009 Alter Ego – The Other I – Gaffa Gallery Surry Hills SELECTED WRITING 2013 Just help yourself why don’tch – Catalogue essay for Bridget Kennedy 2013 Gilty – Catalogue essay for Claire McArdle 2013 Conduit- Catalogue essay for Mary Hackett 2012 Brandlandia- regular column in Overview a New Zealand jewellery newsletter 2011 452 to Paradise – Catalogue essay for unnatural Acts, Velvet de Vinci, San Francisco 2010 The Box Project, Reflections – wall text for The Box Project travelling exhibition 2009 The Brooch – Catalogue essay for Winter Brooches, Studio 20/17, Sydney SELECTED PUBLICATIONS 2010 The Box Project (catalogue), Jasmine Matus (ed.) 2009 Frankie Bits, Frankie Magazine, Issue 29, 2009, Pg 18 2009 SHORT STORY #1: An Artist-Run Initiative (book), Gaffa Gallery 2008 PinUp (catalogue), Design Centre Enmore, TAFE NSW – Sydney Institute SELECTED PROFESSIONAL DEVELOPMENT 2013 Director – Personal Space Project (ongoing) 2011 Internship, Eva Czernis-Ryl, Curator, Arts and Design, Powerhouse Museum,Sydney (ongoing) 2010 Director/Curator – Keeper Gallery
“A Failure to Communicate, More or Less� - an ongoing series signs (detail), 2014, powdercoated aluminum, cord 140 ∅ x 0.5mm (cord length 50mm)
‘byrd’ DANIEL MAGINNITY
#zombieformalism (top), #consciousuncoupling (from the self aggrandizing echo chamber that is meta-slang), 2014, enamel and acrylic paint on aluminium sheets, 370mm x 450mm unframed
Byrd has works held in the collections of the National Gallery of Australia, Canberra Museum and Gallery, The Molongolo group, Craft ACT and various private collections both locally and abroad. He has produced work for clients such as the National Portrait Gallery, the Hindmarsh group, the Molongalo Group, Actew, Snowy Mountains Engineering Corporation, the City of Sydney, Tumut Shire Council, the Department of Territory And Municipal Services, Shi/Kundalini/TonyHall hairdressers. He has also been invited to speak at the Australian National University School of Art, at Canberra University and at Canberra Institute of Technology. Byrd has run workshops for CIT Reid, North Ainslie Primary, Kaleen High, Lyneham High, Wanniassa Creek High, the Messengers Program, Adelong Council, in youth centres at Woden, Civic, Tuggeranong, Western Creek, Turner, Cooma, and Belconnen. RECENT EXHIBITIONS and PUBLIC WORKS: 2014
offline, curated by Jas Hugonnet, Nishi Gallery, NewActon Zine stars, curated by Narelle Philips, Tuggeranong Arts Centre, Tuggeranong Evidence-CIT Visual Arts staff exhibition, ANU School of Art Foyer Gallery ‘doggrl’ wall, Macgreggor Unmade Edges: A Centenary Legacy Exhibition, Belconnen Arts Centre We Love Lyneham: Aspects of Life in a Unique Suburb, the Front Café and Gallery, Lyneham The Pop Up Trike, YOU ARE HERE festival, Civic ‘Lyneham Lyneham’ wall at the Front Café and Gallery, Lyneham 1Night show, curated by Magda K., Nishi gallery, NewActon MakeDo part 1, Write it Up Gallery, Tugerannong Hyperdome MakeDo part 2, Write it Up Gallery, Tugerannong Hyperdome
2013
Box ticking cat memeing parasite, solo show, Jas Hugonnet gallery www.hugonnet.com.au ‘Rules of Summer’ wall at The Front Café and Gallery, Lyneham ‘Write It Up’ group show, pop up gallery, Tugerannong Hyperdome The Portrait of a Nation: Unmade Edges - Distinctive places project with Hanna Hoyne, Stromlo Village SHAPING CANBERRA; the lived experience of a changing landscape, School of Art Gallery, Acton ‘electric blue’ wall at The Front Café and Gallery, Lyneham ‘Canberra100’ pedestrian bridge surfaced for TAMS, Civic ‘blackground’ wall at The Front Café and Gallery, Lyneham Paris in Fyshwick and Sydney in Gungahlin, Golds Gym Bike rooms ‘Cockatoos‘, wall at The Front Café and Gallery, Lyneham PHRENIC (Community art Support Program Fundraiser), Gallery@bcs, Belconnen PIN UP, brooch exhibition, ANCA Gallery, Dickson FLIPSIDE:the underbelly of Canberra, curated by Merryn Gates, ANCA Gallery, Dickson 100% Books by Canberra Artists, curated by AmpersandDuck, Watson Arts Centre, Watson ‘afters’ wall with Atune, Chan and Ownit, Belconnen ‘red basket’ wall at The Front Café and Gallery, Lyneham WE ARE HERE (part of the City of Sydneys Streetware4), curated by Juliet Rosser, Darlinghurst, Sydney Walking Together, the Yaranuna Centre CIT, Reid ‘fall guy’ wall at The Front Café and Gallery, Lyneham
2012
‘pond critters’, wrapped around pump station Gunngahlin wetlands, produced as commission for the ACT Gov, Gunngahlin ‘the long death’ wall, Macgreggor ‘I don’t know yet’, solo show, Jas Hugonnet gallery, www.hugonnet.com.au. Decked Out, curated by Adam Kinninmont, Canberra City Framing Gallery, Civic.
The Red Shoes wall with Atune, Woden drains ‘Model Citizens’ for Art, Not Apart, curated by Chloe Mandryk, NewActon ‘Gum leaves’, 200m sound barrier produced for Shared Services Procurement and SMEC, Casey. Grey questions wall with Atune, Dickson ‘Future Beast 1’ for Platform 72, Oxford St, Sydney ‘Broken letters’ wall with Atune, Kaleen 7 years of the Front, group show, The Front Café & Gallery, Lyneham Column, produced as a commission for a private residence, Nichols Issue 1 of BYRD&SHIT, zine produced in colaboration with AmpersandDuck. WodenGreen floodwalls, 200m comercial mural produced with Kurt Laurenson, Woden. ‘All seeing eye and I’ wall, Macgreggor Red Runners(yellow return) wall, with Atune, Kaleen Rochipop, shop front with Abyss, Kingston Paste-Up Project (as part of YOU ARE HERE), with Abyss, George, Canberra Lab and Sancho, Canberra Museum and Gallery North Wall, Civic Petite Public Art (as part of YOU ARE HERE), Civic Red Runners, wall with Atune, Kaleen Nude Rawings at The Front Café and Gallery, Lynham Runners wall, with Chan, Ownit and Atune, Belconen 2011
WALLWORKS curated by Narelle Philips, ANCA Gallery & Studios 1 Rosevear Place, Dickson ROIFLES(red return), wall with Atune, Kaleen Caged eggs, solo show, Jas Hugonnet gallery, www.hugonnet.com.au Whitebird, produced as a commission for a private residence in Marburg, Germany Pair O’ Cats, produced as a commission for a private residence in Hamburg, Germany Space Invaders Australian street/stencil/poster/paste-ups/zines/stickers, Western Plains Cultural Center, Dubbo Rango, wall with Atune, Macgregor Space Invaders Australian street/stencil/poster/paste-ups/zines/stickers, RMIT GALLERY, Melbourne ROIFLES, wall with Atune, Kaleen CCAS Members show, Canberra Contemporary Art Space, Manuka Greydead, wall with Atune and Punch, Belconnen PIN Wonderwall, broach exhibition, ANCA Gallery & Studios 1 Rosevear Place, Dickson PotatoPointHouse, produced as a commission for a private residence in Potato Point, N.S.W. The Whale Jam, OpenStudio Orlando St, Coffs Harbour Pumped up kick’s wall with Atune, Kippax Lastronaught, produced as commission for ShiHair Greensquare, Kingston ZombieWall, with Atune, Kaleen
2010
MetroGallery pop-up-show, Braddon Space Invaders Australian street/stencil/poster/paste-ups/zines/stickers, National Gallery of Australia, Parks Place (then touring to Brisbane, Melbourne and Dubbo) Print Big, the fitters workshop Kingston for MEGALO Wet n’ Wild, produced as a commission for the re-launched Belconnen Bus Interchange. SOMETHING IN THE AIR collage and assemblage in Canberra region art, Canberra Museum and Gallery CCAS Members show, Canberra Contemporary Art Space, Manuka
#colourtheory (top), #postinternet (from the self aggrandizing echo chamber that is meta-slang), 2014, enamel and acrylic paint on aluminium sheets, 370mm x 450mm unframed
Hanna Hoyne & Amelia Zaraftis, Apron Project, Echidna 2014, performance still 6, 51 x 62 cm
HANNA HOYNE Hanna Hoyne is a sculptor and performance artist exhibiting in Australia, Germany and Hong Kong, with works held in private collections in Australia and Europe. Since 2006 she has taught in Art Theory (undergraduate and postgraduate), Core Studies and Sculpture Studio Theory, at the Australian National University School of Art; and during 2010-11 Drawing as Communication at the University of Canberra. Additionally between 2004 – 2012 she worked in a variety of art educational roles with students of all ages at the National Gallery of Australia, Canberra Museum and Gallery, the YWCA Canberra and Artplay in Melbourne. Hoyne’s painting, sculpture and performance since 1995 have been a response to the multi-cultural communities and attitudes that she has lived and travelled in as a German migrant. Hoyne often works with ephemeral materials and performative actions to make visual metaphores that explore the self and the other. Key to her practice is making wearable sculptures for people, surrendering these constructions to be inhabited during these idiosyncratic, spontaneous performances. Relationships render us vulnerable and yet also produce incredible capacities of transformation. How do we in-habit unfamiliar spaces like culture and orientate ourselves in the psyche? And how do we construct our very own cosmologies in order to belong? Hoyne’s theoretical research has investigated her shifting affiliations and dialogue with Asia and Australia. On her PhD fieldwork in India, Singapore and Malaysia she interviewed Asian contemporary artists to interrogate her own Orientalist and Euro-centric viewpoints in the context of global art practice. Her continuing research interest is in contemporary art practice that straddles the contradictions of an ethical and political identity, inside and outside the gallery environment, especially through performative action and performative self-portraiture.
Hanna Hoyne and Amelia Zaraftis, Artist book repository for Echidna performance images, 2014 ongoing, 21 x 29.7 cm
Hanna Hoyne is a researcher, academic teacher, sculptor and performance artist exhibiting in Australia, Germany and Hong Kong. Her artwork is held in private collections in Australia and Germany. From 2006 to 2014 she has taught in the Art Theory Workshop at the School of Art, Australian National University, consistently while holding other job positions and doing her PhD (2009). In Art Theory she has taught undergraduate and postgraduate courses; in the Core Studies she has taught drawing; and in the Sculpture Workshop she has taught Studio Theory. In 2012-2013 she was an editorial assistant for a catalogue of contemporary Indian art (curated by Chaitanya Sambrani). During 2010-2011 she taught Drawing at the Faculty of Arts and Design, University of Canberra; and she was a Research assistant in Core Studies at the School of Art, Australian National University. Between 2004 and 2012 she has also worked in a variety of art educational roles for other institutions with students of all ages at the National Gallery of Australia, Canberra Museum and Gallery, the YWCA Canberra and Artplay in Melbourne. QUALIFICATIONS 2005- School Of Art, Australian National University, Canberra 2009 PhD (Visual Art) with fieldwork in India, Singapore and Malaysia Dissertation: Commitment, Devotion and Belonging in the World with Particular Reference to the Work of Two Indian Contemporary Artists Exegesis and exhibition: Cosmic Recharge 2005- Australian National University College of Asia & Pacific, Canberra, 2006 Hindi Language, 2 years 2000- RMIT University, Melbourne, Masters of Fine Art by Research 2004 2002 Sung-Shin Women’s University, Seoul, South Korea. University Mobility Asia Pacific Exchange Scholarship (three months) 1993- School Of Art, Australian National University, 1996 Bachelor of Fine Arts First Class Honours 1995 Ecole Nationale Superieure des Beaux Arts de Paris, France. Exchange (one year) 1996 Kyoto Seika University, Japan. Guest student & study tour (three weeks) PUBLICATIONS Hoyne, Hanna, “The Many Wives of Anna Simic and Cristy Gilbert”, article forthcoming, 2014 Hoyne, Hanna, “Lonely Gestures in Vast Horizons”, Catalogue essay for the Land Arts of the American West Program, New Mexico, and the Australian National University Field Studies Program, 2013. Forthcoming shortly in print and online published through the Australian National University School of Art Environment Studio, 2014. Hoyne, Hanna, “Dan Maginnity: Byrd’s Eye View”, Art Monthly Australia-Canberra Centennial Special Issue 259, May 2013 Hoyne, Hanna, “Rattling The Giant Within – Critical Reciprocities within Structures of Consumption”, Art Monthly Australia—Gondwana Special Issue 256, Summer 2012/13 Hoyne, Hanna, “Masquerades on Behalf of the People – Recovering Lives in the Work of Tushar Joag”, In Recovering Lives [Exhibition], catalogue and curatorial by Caroline Turner and David Williams, School of Art and Drill Hall Galleries, Australian National University, 2008 SELECTED SOLO EXHIBITIONS 2009 Cosmic Recharge, Multi-faith Chapel, (PhD show) Australian National University, Canberra Protectornauts, Clockenflap Festival through The Catstreet Gallery, Hong Kong 2008 Protectornauts, Iain Dawson Gallery, Sydney 2004 Ephemeral Protection/Lasting Vulnerability, ANU School Of Art Foyer Gallery, Canberra Protectornauts, Dianne Tanzer Gallery, Melbourne. Ephemeral Protection/ Lasting Vulnerability, RMIT Project Space, Melbourne 2003 Protection Suits, Solo Exhibition, Zab Gallery, Carlton, Melbourne SELECTED GROUP EXHIBITIONS 2015 Imaginarium, curated by Amanda Stuart, Belconnen Arts Centre, Canberra
Sometimes There’s Nothing To Get, curated by Rosie Goldfeder, Nancy Sever Gallery, Canberra 2014 Takin’ It To The Streets, with byrd and Erica Wrigley, Bega Regional Gallery, NSW. Safe Passage, with Karen Cromwell, Amelia Zaraftis and Jacqui Bradley, Australian Capital Artists Association Gallery, Canberra Portrait of A Nation; Unmade Edges-Distinctive Places (Collaboration with Byrd, Dan Maginnity); Canberra Centennial project, Belconnen Arts Centre, Canberra. 2013 Portrait of A Nation; Unmade Edges-Distinctive Places (Collaboration with Byrd, Dan Maginnity); Canberra Centennial project, Stromlo Village Green, Canberra. Material Translations (Collaboration with Amelia Zaraftis), M16 Gallery, Canberra 100%Books, curated by Miriam Mussared and Caren Florance, Watson Arts Centre, Canberra Phrenetic (Community Arts Support Fundraiser for Mental Health), Belconnen Community Centre Gallery, Canberra Pin Up, Australian Capital Artists Association Gallery, Canberra 2012 Re-Pin, Australian Capital Artists Association Gallery, Canberra 2011 Wallworks (Collaboration with Byrd, Dan Maginnity), Australian Capital Artists Association Gallery, Canberra Wattle (Survey of contemporary Australian artists in Hong Kong), The Catstreet Gallery, HK Astronaut Girl Narrative (Collaboration with Byrd, Dan Maginnity), temporary mural commission for Diamant Hotel in New Acton Complex, Canberra 2010 Musings (with Anne Wysocki) The Catstreet Gallery, HK Opening of New Gallery, Iain Dawson Gallery, Sydney 2009 Signal 8, The Catstreet Gallery, Hong Kong 2008 Sculpture on the Edge, Bermagui 2007 A Cage Opera(2) (Collaboration with Anna Simic: performance, sculpture and video installation) invited at Canberra Museum and Gallery 2005 A Cage Opera(1), (Collaboration with Anna Simic: performance, sculpture and video installation), Dianne Tanzer Gallery, Melbourne 2004 National Helen Lempriere Scholarship Exhibition, Werribee Mansion, Melbourne 24:7 Public Art Projects, for Canberra Museum and Gallery, at Calthorpe’s House, Canberra 2003 Siemens RMIT Fine Art Scholarship Exhibition, RMIT Storey Hall Gallery, Melbourne & Siemens Headquarters, Bayswater, Melbourne. Protection Suits in the Tok Centre, Toorak Village Festival, Toorak, Melbourne 2002 Siemens/RMIT Fine Art Scholarship Exhibition (Winner), RMIT Project Space, / Siemens Headquarters, Bayswater, Melbourne Works Inspired by Korea ,works created in response to 3 months exchange at Sung-Shin Women’s Universtiy and Sang Myung Universtiy in Seoul, Faculty Gallery, RMIT, Melbourne Works Made In Korea, six students returned from Seoul, South Korea, Faculty Gallery, RMIT, Melbourne 2001 The Lotus and The Astronaut, with Doris Kruse Hoyne , Art-espresso Café and Gallery, Canberra. Siemens/RMIT Fine Arts Scholarships Exhibition (Finalist), Storey Hall Gallery RMIT AWARDS & PRIZES 2010 Finalist, Australia Council for the Arts, residency funding for one year at the Kuenstlerhaus Bethanien, Berlin Germany. 2006 Fieldwork Scholarship, Australian National University Materials Grant, Australian National University 2005 PhD Scholarship, Australian National University 2004 Arts ACT Project Grant for A Cage Opera, collaboration with Anna Simic 2002 Siemens RMIT Fine Art (Postgraduate) Scholarship University Mobility Asia Pacific Scholarship to Korea 2001 RMIT Union Arts Grant 1994 Telecom Travelling Scholarship
RESIDENCIES 1999 Artist residency, Caritas Presse, Supervision Director Wolfgang Benold, Germany (Six weeks) Publications (about my work) www.begadistrictnews.com.au/story/2600086/street-art-takes-flight/ www.hkclubbing.com/events/details/36.html www.iconophilia.net/cosmology-plus/ Rice, Sarah, Safe Passage Exhibition Review, forthcoming, April 2014 Stern, Sylvie, Safe Passage Exhibition Review on Art’n’Soul, Radio Interview, 2XX, March 2014 Barbie Robinson, Safe Passage Exhibition Review on Arts Diary, Radio Interview, ArtSound FM, March 2014 Adrian Muscat, Portrait of A Nation; Unmade Edges-Distinctive Places (Collaboration with Byrd, Dan Maginnity); Canberra Centennial project, Documentary Film, 2013 Geoffry Dunn, Wallworks (Collaboration with Byrd, Dan Maginnity), Australian Capital Artists Association Gallery, Canberra Exhibition Documentation, available online at lwww.lushpupimages.com, 2011 Pacey, Laurelle, Sculptures on Coast go to Extremes, Sunday Canberra Times, 9th March, 2008 Lendon, Nigel, Finding Sculpture’s Edge, Artwrangler’s.com.au, 10th March 2008 Hammond, Kirrily, in Exhibition Catalogue for A Cage Opera at Canberra Museum and Gallery, 2007 Sellbach, Undine, Cloud Cages and Dream Garments, in Exhibition Catalogue for A Cage Opera at Canberra Museum and Gallery, 2007 Backhouse, Megan, Around the Galleries, ‘The Lightness of Being”, The Age, Melbourne, 1 May, 2004 Gruber, Fiona, “The Opening”, PBS Radio Interview, Melbourne, 11May, 2004, 7pm Walton, Inga, “Visual Arts In Focus”, in The Independent Arts Review, Edition 15, May, 2004, p.5-6. Rogers, Ken, “Vulnerability And How We Live With It”, Editor of Kyoto Journal, 27 November 2003.
Hanna Hoyne & Ameilia Zaraftis, Apron Project, DO NOT CRUSH tea-towels 2014, Performance Still 1, 21 x 29.7 cm
LIST OF WORKS
Joel Arthur No. 38 2014 Acrylic on board 122 x 122 cm No 42 2014 Acrylic on board 122 x 122 cm Refraction 43 2014 Oil and acrylic on board 122 x 122 cm No. 44 2014 Acrylic on board 122 x 122 cm No. 45 2015 Acrylic on board 122 x 122 cm No. 46 2015 Acrylic on board 122 x 122 cm Zoe Brand “A Failure to Communicate, More or Less” - an ongoing series signs 2014 Powdercoated aluminum Cord 140 ∅ x 0.5mm (cord length 50mm) Byrd #colortheory (from the self aggrandizing echo chamber that is meta-slang) 2014 Enamel and acrylic paint on aluminium sheets 370mm x 450mm unframed #quantifiedself (from the self aggrandizing echo chamber that is meta-slang) 2014 Enamel and acrylic paint on aluminium sheets, 370mm x 450mm unframed #zombieformalism (from the self aggrandizing echo chamber that is metaslang) 2014 Enamel and acrylic paint on aluminium sheetsm 370mm x 450mm unframed
#consciousuncoupling (from the self aggrandizing echo chamber that is metaslang) 2014 Enamel and acrylic paint on aluminium sheets 370mm x 450mm unframed #postinternet (from the self aggrandizing echo chamber that is meta-slang) 2014 Enamel and acrylic paint on aluminium sheets 370mm x 450mm unframed ‘convincingly encapsulates the paradoxical operating principle of imagination and desire as applied to cultural production’ (studies) 2014 Enamel and acrylic on aluminum 400 X 135 mm Hanna Hoyne & Ameilia Zaraftis Apron Project, DO NOT CRUSH tea-towels 2014 Performance Still 1 21 x 29.7 cm Apron Project, Echidna 2014 Performance Still 1 21 x 29.7 cm Apron Project, Echidna 2014 Performance Still 2 21 x 29.7 cm Apron Project, Echidna 2014 Performance Still 5 21 x 29.7 cm Apron Project, Echidna 2014 Performance Still 6 51 x 62 cm Artist book repository for Echidna performance images 2014 ongoing 21 x 29.7 cm
ACKNOWLEDGEMENTS A huge thank you to Nancy Sever for giving me the opportunity to curate an exhibition in her gallery space. Thank you also to the artists Joel, Zoe, Dan and Hanna for taking part in my first exhibition at a busy time. Zoe for your support and enthusiasm, Joel for jumping on board and creating new work and Dan and Hanna for your incredible generosity with your work and expertise. Thankyou also to all the wonderful friends that have helped out and all those that offered, especially Kirrily Apthorp, Christine Tesch, Geoff Major, Leanne Santoro, Ellen Wignell and Jessica Shepherd.
SOMETIMES THERE ISN’T ANYTHING TO GET 7 – 30 January 2015 M: 0405 558 188 E: sometimesthereisnt@gmail.com F: https://www.facebook.com/ pages/ Sometimes-there-isntanything-to-get W: www.sometimesthereisnt anythingtoget.wordpress.com
Byrd, ‘convincingly encapsulates the paradoxical operating principle of imagination and desire as applied to cultural production’ (studies), 2014, enamel and acrylic on aluminum, 400 X 135 mm (top), Joel Arthur, No. 46, (top) No. 45, 2014, acrylic on board, 122 x 122 cm