ATW Artist in Residence Program

The Australian Tapestry Workshop enjoys an international reputation as a leader in contemporary tapestry. It is the only workshop of its kind in Australia and one of only a handful in the world for the production of hand-woven tapestries. The Artist in Residence program invites artists to immerse themselves in the unique studio environment of the ATW. 

  • Artists can attend for minimum of 2 to a maximum of 8 weeks, full or part-time.
  • 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.
  • Artists will be given a working space at the ATW, reasonable use of ATW yarn & equipment and will be paid to deliver a public talk at the ATW.
  • The number of artists selected is usually 8 - 10, depending on the quality of applications.   

2020 Artists in Residence 

Hannah Gartside (VIC)

Hannah Gartside holds a Bachelor of Fine Art (Sculpture) from the Victorian College of the Arts, and a Bachelor of Fine Art with honours (Fashion Design) from Queensland University of Technology. She has held solo exhibitions at Ararat Gallery TAMA, Metro Arts Gallery and George Paton Gallery, and has participated in group exhibitions at the Ian Potter Museum, QUT Art Museum, Kings ARI, Blindside, Museum of Brisbane, The Johnston Collection, Town Hall Gallery and McClelland Gallery and Sculpture Park among many others. In 2017, Gartside undertook a Varda Artist Residency in California, and was a finalist in Hatched (Perth Institute of Contemporary Art), Fresh (Craft Victoria) and the Fischer’s Ghost Art Awards (Campbelltown Arts Centre). In 2019 and 2017, she was a finalist in both the Wangaratta Contemporary Textile Award and the Victorian Craft Awards. Prior to her visual art training, Gartside worked as a costume-maker for ballet and theatre. Her work is held in the Wangaratta Art Gallery collection.


Teelah George (WA)

Teelah George examines archival information and processes as a way to unpack the relationship between narrative, representation and materiality, excavating the parallel ambiguities within historical record and visual art. Cultural artefact, Oral, written and photographic information become the departure point for making work, interrogating both personal and historical narratives as a way to present alternative manifestations and contexts. Working across painting, embroidery and bronze, Teelah seeks to employ the volatile realities of materials and the processes used to manipulate them, as ways to reflect the same entropic qualities found in our archives, collections and stories.


Julia Gutman (NSW)

Julia Gutman is an Australian sculptor working at the intersection of collage and textiles, with a distinctive irreverence that permeates all of her work.  Her playful interventions unto familiar domestic objects queer their narratives and in doing so convey a sense of tough femininity.  Gutman holds an MFA from Rhode Island School of Design, 2018, where she was the recipient of a Graduate division Scholarship and a BFA from the University of New South Wales Art and Design, 2016. She has exhibited internationally, with shows at Brown University, RISD Museum and Elsewhere Museum in the United States. Gutman places a large emphasis on arts accessibility and see’s teaching as a major tenant of her practice. She has taught in the NYC public education system via non-profit Studio in a School and is now focused on Australian avenues for affordable arts education. 


Jessica Hemmings (Sweden)

Jessica Hemmings writes about textiles. She studied Textile Design at the Rhode Island School of Design, graduating with a BFA (Honors) in 1999 and Comparative Literature (Africa/Asia) at the University of London’s School of Oriental and African Studies, earning an MA (Distinction) in 2000. Her PhD, awarded by the University of Edinburgh in 2006, is published by kalliope paperbacks under the title Yvonne Vera: The Voice of Cloth (2008). In 2010 she edited a collection of essays titled In the Loop: Knitting Now published by Black Dog and in 2012 edited The Textile Reader (Bloomsbury) and wrote Warp & Weft (Bloomsbury). Her editorial and curatorial project, Cultural Threads, is a book about postcolonial thinking and contemporary textile practice (Bloomsbury: 2015) accompanied by a travelling exhibition Migrations (2015-2017). From 2012-2016 Jessica was Professor of Visual Culture and Head of the School of Visual Culture at the National College of Art & Design, Dublin, Ireland. She is currently Professor of Crafts & Vice-Prefekt of Research at the Academy of Design & Crafts (HDK), University of Gothenburg, Sweden.


Victoria Manganiello (USA)

Victoria Manganiello is a textile artist based in Brooklyn, NY. Named as one of Forbes Magazine’s 30 under 30 for 2019, Victoria has received multiple international recognized grants and residency appointments and has exhibited her work throughout the USA and internationally including at the Queens Museum, Museum of Art and Design, Indianapolis Contemporary and the Tang Museum. She is also a professor of Textiles at NYU and Parson’s the New School. Exploring the intersections between materiality, technology, geography and storytelling, Victoria’s installation work, abstract paintings and kinetic sculptures are made meticulously with hand-woven textiles using hand-spun yarn and hand-mixed natural and synthetic color dyes alongside mechanical alternatives and modern technologies.

Victoria is the recipent of the $3000 City of Port Phillip AIR Scholarship.  


Carolyn Menzies (VIC)

Born in New Zealand, Carolyn Menzies studied sculpture at the University of Canterbury School of Fine Arts and completed her MA at Central Saint Martins, London, in 2001. She has exhibited in solo and group exhibitions in New Zealand, Australia and the UK. Her work often incorporates unusual and diverse materials and conveys a poetic fascination with processes of transformation. Although her materials are diverse and at times unusual, the constant that runs through her work is a fascination with the processes of transformation. Her current practice is best described with a simple Venn diagram. Drawing one circle to represent the world of modern art and the other circle to represent the sphere of domestic labour has allowed her to create an imagined space where they might intersect. 


Dias Prabu (Indonesia) 

Dias Prabu is a painter and creator of Batik Tulis living and working in Yogyakarta, Indonesia. Dias completed a Bachelor of Art at the National University of Surabaya and his masters at the Indonesia Art Institute in Yogyakarta. Dias uses the traditional batik tulis (hand-drawn batik) using hot wax using canting to create large-scale hand dyed textile works. The designs are informed by Indonesian folklore and legends represented by drawings of hybrid figures, mythological beings and contemporary refiguring of traditional Indonesian motifs and symbols. 

In 2015, he was a finalist of the Mandiri Art Award and the UOB Painting of The Year Award in Jakarta, and has exhibited his work throughout Indonesia including in Jogja National Museum in Yogyakarta as well as in Australia.


Mark Smith (VIC)

Working across painting, ceramics, mixed media, video and soft sculpture, Mark Smith’s primarily figurative works are concerned with how the physicality of the body relates to human nature and the human condition. Smith considers the body a nonnegotiable starting point for existence, using the primitive vessel to explore the truly distinctive characteristics of being human. Within this framework Smith addresses the experiences and complexities of the individual and of humanity as a whole, as well examining the ‘language’ of a subtle movement or position. Working purely from feeling or emotion rather than a model or image, Smith’s works possess an intrinsic nature or indispensable quality that imbues them with a deep sense of character. Mark Smith (born 1976) has been attending the Arts Project Australia studio since 2007, and had his first solo exhibition ‘Words Are…’ at Jarmbi Gallery Upstairs, Upwey, Victoria. He has exhibited in multiple group exhibitions at Spring 1883, Robin Gibson Gallery, No Vacancy Gallery, c3 Contemporary and The Substation. In 2014 he self-published ‘Alive’, an auto-biographical reflection of his life.


Muhubo Sulieman (VIC)

Muhubo Suleiman is a Somali weaver and educator and came to Australia in 2003 from a small town near Galkayo in Somalia. Her passion for preserving her cultural heritage continues to inspire her work, involving the creation of brightly coloured hand woven rugs, bags and wall sculptures that incorporate traditional Somali weaving techniques. Suleiman learnt these weaving techniques from her mother at age five; this work was invaluable to the survival of families; the huts provided safety and shelter as portable homes for these nomadic communities. She currently hosts Traditional Weaving workshops at the Community Grocer in Carlton and workshops at the Collingwood Neighbourhood House, Kathleen Syme Library and Community Centre Weavers and Spinners Guild and in 2019 is also an Artist in Residence at Yarra City Arts. Her work was exhibited at the ATW in the 2019 exhibition ‘Place Makers’.


Paula do Prado (NSW)

Paula do Prado is a contemporary artist working predominantly in textiles. Her work utilises traditional and non-traditional craft techniques to create hybridised fibre forms, altered books and photographic self-portraits fused with fabric collage, stitch and beading. Born in Montevideo, Uruguay, do Prado emigrated to Sydney, Australia in 1986 where she continues to live and work. She is of African, Hispanic and European descent. Her work explores her experience as a first generation migrant and as a non-indigenous brown woman navigating Australian society and its ongoing and problematic colonial history. Although her work is highly personal and autobiographical, it oscillates between playful and tragic ambiguity to reference universal human preoccupations with belonging, cultural and gender identity.



2019 Artists in Residence 

Ana Teresa Barboza (Peru)

Ana Teresa Barboza lives and works in her native city of Peru. Her characteristic use of crafts such as patchwork, knitting or embroidery combined with other media on her artistic work, bestow a poetic quality to depictions of plants and their growth – which defy our serial and industrialized times.

Since she graduated from the Art Faculty of the Pontificia Universidad Católica del Perú, Barboza´s use of manual crafts became the means to convey a meditative and powerful observation with the environment and her relationship with reality. Her laborious use of traditionally feminine handicraft has become her trademark, where her interest was centered initially on depictions of herself and the relationship with her body and in Animales Familiares on the liaison of herself and her relation with others by the use of animal metaphors. Through photographs the artist recently has registered spaces she inhabited for long periods of time. With this technique, her experiences were depicted in an image; printed on paper as footprints on the ground, physical trace of something that’s not longer there.

Visit Ana Teresa Barboza's website


Roseanne Bartley

Artist Roseanne Bartley works across adornment, craft, social process and performance. She works in solo, collaborative and communal contexts and in site-responsive situations. 

Her work is process-based, concerned with mapping the effects of changing conditions and revealing tangible and intangible relations between things; be they material, social or ethical.   

Bartley has been awarded numerous grants including the Australia Council Skills and Development- Studio Residency Barcelona 2004 (undertaken 2005/6), Australia Council New Work Grants in 2001, 2006 and 2012., Arts Victoria New Work grants in 2001 and Artist in Schools 2008.  Her work has been selected for national and international exhibitions, including After Wearing: A History of Gestures, Actions and Jewelry Pratt Institute, New York (2015), Unexpected Pleasures, NGV and Design Museum, UK (2012-13); Melbourne Now, NGV (2013–14); and Suspended in Green, Vienna and Munich (2014). She won the Moreland Public Art Prize in 2014. She recently completed a Ph.D in the School of Architecture and Urban Design at RMIT University and is a sessional lecturer at Monash University in Melbourne, Australia.

Visit Roseanne Bartley's website


Daniela Contreras Flores (Chile)

Daniela Contreras Flores is a Chilean textile artist with a Bachelor’s degree in Arts at University of Chile. She specialized in Textile Art at the very same institution, where she developed techniques related to tapestry, shibori and clothing, where later worked as a teacher in the area.

She is currently engaged in the teaching of textile techniques at the Museum of American Popular Art of Tomás Lagos and in the construction of works, installations and shows where she talks about marginalization, inheritance and textile legacy.

She had a remarkable participation in the 7th Biennial of World Textile Art in Uruguay, which took place in October of 2017, where she was the winner of the first place in the Small Format category.


Lee Darroch

Lee Darroch is a Yorta Yorta, Mutti Mutti and Boon Wurrung woman, who has lived on Raymond Island in the Gippsland Lakes with her partner and two children for the past 31 years. She is an artist and community cultural worker. Her artwork is inspired by the need to continue cultural, spiritual and artistic practices. Lee has run her own business Gurranyin Arts for over 24 years. She feels guided in her artwork by the Old People who have gone before us and by her Elders today. Lee hopes to leave behind a rich legacy for her children and children’s children to follow, so that the Dreaming will continue in an unbroken line.


Amanda Ho

Amanda Ho is a Melbourne based weaver. Born in Melbourne and spending part of her childhood in Hong Kong, her practice draws on the duality of her heritage. 

She started weaving while studying textile design at RMIT University and continued to develop her craft while working as an architect.

After further studies in Japan, she began to refocus her practice from architecture to weaving, starting the weavers’ workroom and transitioning to weaving in 2015. With over 20 years of experience in architecture, her interest in design, materials, patterns and structures continues to be reflected in her work. 

Amanda’s work is inspired by Yoshiko Wada’s lecture on Slow Fibre: the idea around the understanding of the property of different fibres, how they behave on their own and interact with each other, it is possible to manipulate them with calculated expectations. 

She employs a contemporary approach to traditional techniques and materials in both function and non-functional works. 

She has exhibited at Wangaratta Art Gallery in both ‘Petite’ and ‘Contemporary Textile Award’, with pieces in their permanent collection.


Kate James

Yarra Valley-based artist Kate James draws from a variety of media to produce objects, textile works and drawings. In creating her intricate, hand-crafted and psychologically-charged sculptures and objects, James employs repetitive and painstaking techniques, often adapted from uncommon, sometimes obsolete, craft practices.

James has held solo exhibitions at Daine Singer, Craft Victoria, Maroondah Art Gallery and West Space and exhibited in group shows at the Australian Experimental Art Foundation, Tasmanian Museum and Art Gallery, Plimsoll Gallery, Level ARI, Plymouth City Museum and Art Gallery (UK), Ground Work South West (UK), London Metropolitan University (UK), RMIT Gallery, Dubbo Regional Gallery, PICA, Firstdraft Gallery and Blindside ARI. She has a Master of Arts and BFA (Honours) from RMIT University.  James is represented by Daine Singer, Melbourne.

Visit Kate James' website

Image courtesy of the artist and Daine Singer, Melbourne


Adrian Lazzaro

Working across a number of disciplines including drawing, painting, digital media and soft sculpture, Adrian Lazzaro’s practice explores, amongst other things, the more quirky aspects of the world around us, or more accurately, the world around him.

Inspired by his love of classic comic book themes like zombies, superheroes and villains, and an unwavering devotion to WWE & GLOW (American wrestling), lazzaro has an uncanny knack for conflating these subjects with real life, people and places, to create what is often a humorous social commentary on the state of western society and the plight of the human race!

Lazzaro (born 1985) has been a studio artist at Arts Project Australia since 2004. He’s regularly exhibited in group shows in Australia and overseas, including Spring 1883, The Establishment, Sydney; Now the heart is filled with gold as if it were a purse, curated by Glenn Barkley, Arts Project Australia, Melbourne (2014); Turning the Page, Gallery 101, Ottawa, Canada (2014); and My Puppet, My Secret Self, The Substation, Newport.

In 2018, Lazzaro was a finalist in the Petite Miniature Textiles Biennial, Wangaratta Art Gallery, which resulted a piece being acquired for their permanent collection. 

Adrian Lazzaro is currently represented by Arts Project Australia, Melbourne,

Visit Adrian's profile on Arts Projects here


Zela Papageorgiou 

Zela Papageorgiou is a Melbourne-based percussionist whose practice focuses on contemporary, classical and experimental music. She is particularly drawn to performing compositions that include elements of improvisation and open instrumentation with traditional and non-traditional percussion instruments. Zela’s practice also involves working with graphic scores and developing contrasting interpretations of visual notation.

Zela has recently begun exploring the use of repurposed objects and materials to create custom built instruments for performance. She believes that using repurposed materials, familiar or foreign, allows experimental percussion to reach a wider audience beyond the New Music and sound art communities. These objects form a stronger and more personal connection to the audience, adding significance and context within a performance to resonate with new and diverse audiences.

Zela is a graduate of the University of Melbourne, Melbourne Conservatorium of Music, completing a Bachelor of Music with first class honours in 2016 under the tuition of Peter Neville, and attended the Australian National Academy of Music in 2017.

Photo by Alan Weedon


Sharon Peoples (ACT)

Sharon Peoples has worked as an artist in Canberra for over 20 years, exhibiting nationally and internationally, as well as taking on commissioned work. Her art practice focuses on stitching and textiles. Sharon’s work has been collected by national and state institutions.

In 1994, she completed a Master of Visual Arts at the Australian National University and began her arts practice. Sharon continued studying, graduating with a PHD in 2009 in Art History. She diverged down the path to academia, teaching and researching in museum studies. However, she gradually picked up the threads of her visual arts practice in 2010 after becoming Chair of the Board of CraftACT, Canberra, and by 2016 she left academia to concentrate full-time on making. In 2018 Sharon was invited to sit on the board of World Craft Council (Australia). 

During the summer 2017/18, Sharon worked towards a solo exhibition Death of a Craft, making figurative lace-like textile structures, based on her own body. In the process, an intellectual shift occurred refocusing lace as a verb rather than a noun: as in lacing a drink or food to cause harm. In using lace-like structures she emphasises fragility as well as the deception of beauty: using beauty to tell dark stories.

Visit Sharon People's website


Deborah Prior (SA)

Deborah Prior’s art practice navigates the complexities and pleasures of having and being a body via craft practices including knitting, stitching and embroidery.

Using salvaged, stained, and damaged material(s) from the domestic sphere, she crafts soft sculptures, installations, and performances that explore ideas of bodily agency, disgust & desire, and the personal and social histories of domestic work.

Most recently, Prior has been investigating the shared visual language of body fragments in medical illustration/modelling and religious iconography, positioning her textile pieces as profane relics to invite conversation around the contested knowledges, histories, and mythologies of female corporeality. 

Based in Adelaide, Prior has been crafting strange anatomies for thirteen years. She has exhibited at the Australian Experimental Art Foundation, The SASA Gallery, Adelaide City Council Art Pod, FELTspace, CACSA’s Project Space, Seedling Art Space, Adelaide Central Gallery (Adelaide), Kings Artist-Run, Trocadero Art Space and Rubicon Ari (Melbourne). She completed her PhD in Visual Arts at UniSA in 2014. In 2016 she spent several months on residency in Italy as the recipient of the Helpmann Academy British School at Rome Residency, which continues to be a rich vein of inspiration for her practice.


Nina Ross, Stephen Palmer and Gabrielle de Vietri

Nina Ross, Stephen Palmer and Gabrielle de Vietri are multidisciplinary artists working collaboratively for the ATW 2019 program. 

Since 2017 the artists have collaborated as part of the art/activist collective Artists’ Committee, which has been concerned centrally with the offshore detention of asylum seekers and refugees, and the conditions under which artists work. Their projects have included creative interventions, open meetings, banner-making workshops, public performances and an interactive database. More broadly the artists’ collaborative work is concerned with collective action towards positive social change, and finds its substance at the crux between culture, money, ethics and parenthood. Their individual practices also share an interest in language and the way in which it shapes our relationship with others. 

In the ATW residency they will consider the precarious nature of artistic work, in relation to a range of conditions including wages, funding, parenthood, and time. The project will include informal discussions and workshops and the production of a series of banners utilising a range of materials. 


Rosie Westbrook

Rosie Westbrook is a classically-trained solo artist, multi-instrumentalist and composer. Rosie has played in orchestras, chamber ensembles, theatrical productions and with numerous contemporary music artists, both within Australia and internationally.

Rosie has released two CDs of her compositions: Wave in 2003 and Big As The Ocean in 2007. Both received critical acclaim and established Rosie's compositional style of emotional and cinematic music, featuring the bowed double bass. A highly- developed classical sensibility combined with a rock n'roll edginess gives her work a unique quality.

In recent years, Rosie has been developing a solo performance practice based on responding to visual art and creating live musical installations with the guitar and the double bass. This has included installations for exhibitions at TarraWarra Museum of Art; Kaliman Gallery (NSW); Milani Gallery (QLD); University of Queensland Art Museum and a series of performances inspired by tapestries produced by the Australian Tapestry Workshop.

Visit Rosie Westbrook's website


Rosie Westbrook portrait by Janis Lesinskis


Megan Williams (UK)

Megan Williams is an early career tapestry artist studying at the University of Huddersfield (UK). She is also greatly influenced by landscapes, the sea, and also areas of historic significance. Megan enjoys exploring traditional and non-traditional tapestry weaving methods alike, and working with unconventional materials and colour blending of wool. 


Gosia Wlodarczak

Gosia Wlodarczak was born in Poland (1959) and graduated with a Master of Fine Arts with Distinction from Poznan Academy of Fine Arts, Poland (1984). She arrived in Australia in 1996, lives in Melbourne and works in Australia and internationally.

Drawing is the basis of her practice, extending towards performance, interactive situations, installation, sound, photo and moving-collage; she refers to it as trans-disciplinary drawing.

Since her arrival in Australia she has been awarded numerous prizes and grants, held over 60 solo exhibitions, 55 performances and participated in importent Australian and international exhibitions including: COMPASS, Sydney Museum of Contemporary Art; Performing Drawing National Gallery of Australia (2018); Drawing Out, the Dobell Drawing Biennial, Art Gallery of New South Wales (2014); The 5th Moscow Biennale of Contemporary Art, Russian Federation (2013); Contemporary Australia: Women, Gallery of Modern Art Brisbane (2012); Drawing Now Paris, Carrousel de Louvre, France (2012); Singapore Biennale 2011 Republic of Singapore, Pathway: Drawing In, On, and Through the Landscape, The Drawing Center, New York, US (2011).

Her work is represented in collections including: NGA, NGV, AGNSW, AGSA, AGWA, QAGOMA, Sydney MCA, Artbank, Deakin University, Edith Cowan University, Murdoch University, Poznan University of Fine Arts, Western Washington University.

Visit Gosia Wlodarczak's website



The 2019 applications were assessed by Emeritus Professor Kay Lawrence AM, former Head of School, School of Art, Architecture and Design at the University of South Australia, Director of the Board of the Australian Tapestry Workshop and tapestry weaver; Charlotte Day, Director of Monash University Museum of Art (MUMA); Beck Jobson, Manager, Operations of the Australian Tapestry Workshop and Antonia Syme, Director of the Australian Tapestry Workshop. 

2018 Artists in Residence 


Alterfact is an experimental design studio created by Lucile Sciallano and Ben Landau in 2014. Since graduating from Design Academy Eindhoven in 2013, Lucile and Ben have worked in tandem on various projects in different mediums. Their collaboration has culminated in the creation of Alterfact Studio, a platform through which to explore current and future issues and translate them into experiences, installations and objects. The studio conducts critical research with materials and data translated through the manufacture of ‘stuff’. They investigate where it comes from and where it goes; how it is made and how it will be used. 

Alterfact’s practice is currently focused on the use of 3D printing in clay as a small batch manufacturing process.


Visit Alterfact's website here


Chloe Bensahel (USA)

Rooted in textiles, sound, and installation, Chloe Bensahel’s work presents alternative cultural narratives inspired by her own experience as a Franco-Sephardic immigrant in the United States. She is the last of four generations of immigrants, a journey that has taken her family from Algeria all the way to the U.S via Morocco and France. Bensahel’s work represents her way of mending her relationship to place, creating her own individual cultural narrative by exposing herself to traditions, plants, and stories linked to materials. An alumni of the prestigious Parsons the New School for Design, Bensahel has worked with artisans in the South of France, Japan, and Nepal collaborating on contemporary art projects and installations, including at the Design Week in San Francisco and Galerie Odile Ouizeman in Paris. She is currently a fellow at the Halcyon Arts Lab in Washington DC.


Visit Chloe's website here.


Carolyn Cardinet

French-born Carolyn Cardinet is an Australia based experimental artist with a Post Graduate Masters of Fine Art from RMIT University Melbourne and a Bachelor of Fine Art from VCA, Melbourne University.

In her art practice Carolyn collects discarded and unnoticed objects; the rejected mass-produced objects of everyday life. Reclaiming these everyday objects she assembles this refuse into sculptural forms, drawing connections between the objects themselves and the natural environment from which they have been extracted.

In 2017, two solo exhibitions Microbeplastica (Sydney) and Organic Plastic (Newstead). Her largest installation Glacier at CUBE 37 (Frankston) was solicited for the Bastille Day Festival (Meat Market), Sustainable September (South Melbourne Market) and RETHINK (Ballarat) her sculptural installations adorned the 2017 French Film Festival opening ceremony.


Visit Carolyn's website here.


Rute Chaves

Rute Chaves' work is focused on the re-interpretation of craft in a digital context, the social impact of craft as expression and of fabrication processes; as well as research of three-dimensional formats, the integrated relationship between surface and form.

TRICOTAUTOMAT is an ongoing project of playful design for serious conversations. Connecting an original domestic knitting machine with an open source shield allows a real time control over the needles and one can knit digital patterns.

TRICOTAUTOMAT invites people to enter the photo booth, take a picture and have their photo stripe knitted live and in real time. The emphasis lies on the impact of the digital design and fabrication in society through a playful and instant interaction, creating a room to talk about the democratization of art and design, production processes, fair trade, awareness for consumption and social relations. 


Martina Copley

Sound, idea, object and modality are collated to set up a structural space for something to exist, a space in which the work moves towards an opening and at the same time asks questions about itself.

Martina Copley is an artist, curator and writer interested in different modalities of practice and the annotative space. Working in film and sound, drawing and installation, she is researching a PhD of Fine Arts at the Victorian College of the Arts, University of Melbourne. 

Recent exhibitions and projects include No Notes: This is writing, artist publication with Francesca Rendle-Short, 2017; Unhidden, Counihan Gallery, Melbourne, 2017; Between these worlds there is no ordinary continuity, Melbourne Festival ,2016; FM[X] What would a feminist methodology sound like? WestSpace, Melbourne, 2015; A Listener’s guide to bowing, Melbourne School of Architecture & Design. Liquid Architecture & Nite Art Melbourne, 2015.

Martina has significant experience as an independent curator of contemporary art and gallery manager in public, commercial and artist-run contexts. In 2001 she was arts ambassador for the Australian Pavilion of the Venice Biennale. She curated WALK, a national touring exhibition with NETS Victoria in 2009 and was the founding curator of MAILBOX, an independent public art space in Melbourne. 


Visit Martina's website here


Sai-Wai Foo

Sai-Wai Foo is a Melbourne based visual artist who began developing her practice in 2012. Her craft based practice is informed by her fashion design background and is primarily focused on the reworking of objects that are discarded and redundant; vintage books, manuscripts, silverware and objects that show the marks of a former existence, items that were have out-lived their owners or usefulness in a digital age.

In a contemporary world of mass-production the reworking yellowing pages into sculptural forms is foil to mechanical processes. The fragility of brittle aging paper gleaned from discarded books, manuscripts that bear marks of previous lives. The act of cutting, folding and manipulating paper beyond the flat plane, is implicit in its human connection and continues this discussion, pushing the work into the three-dimensional realm.

This narrative weaves through these elements, honouring the discarded, objects rich with the patina of age, once treasured but now castoff. In turn questioning how items are used and re-used. How the unwanted can be turned it into an object that will be again treasured, seeking to re-appropriate the rejected and imbue it with a new value, once again precious and prized. 


Anne Graham (NSW)

Anne Grahams research interests focus on an investigation of identity and space, she is particularly concerned with creativity and its role in the formation of identity, her definition of creativity includes cooking, gardening, and many forms of social and constructive activity as well as more conventional notions of art and craft. She creates portraits that are intended to embrace many aspects of the subject’s life but they are also intended to have universal applicability so that the viewer might feel that these works also resonate with their own life.

Anne Graham has exhibited in many curated exhibitions and created major public artworks nationally and internationally. She has worked extensively in Japan since 2000 undertaking many commissions and residencies. In June 2014 she completed a residency at the Kulturcentrum, Konsthallen, Sandviken, Sweden that culminated in a Solo exhibition. In June 2015 she took part in a residency at The Big C in Bilpin that producing work that was exhibitited at The Blue Mountains Cultural Centre. In 2015 she awarded a residency by The Power Institute of Fine Arts, Sydney University, at The Cite in Paris, this took place from Nov2015-January 2016, work completed during this period was shown at The Bathurst Regional Gallery 2016 and The Glasshouse at Port Macquarie 2017. She has recently exhibited work at The Woodford Academy focussing on the history of the Academy.


Visit Anne's website here


Bronwyn Hack

Bronwyn Hack is a painter, printmaker, ceramicist and 3D artist. She has an intense and fervent art practice that results in poignant work, which sometimes reveals a painful melodrama. Early work has centered on scenes of ardent attraction featuring fictionalised characters drawn from popular culture and her imagination. She has also maintained a keen interest in exploring animals, with a particular penchant for depicting dogs, both wild and domestic. Her more recent work has a darker edge to it; while still focusing on figurative subject matter, she has begun honing in on specific sections of the body and bones, reinterpreting these forms in objects and paintings that are thought provoking and intriguing.

Bronwyn Hack has worked in the studio at Arts Project Australia since 2011. She's been included in numerous group exhibitions including: 'Wild Lands, Linden New Art, Melbourne; ‘Nests’, Northcity4, Melbourne; ‘My Puppet, My Secret Self’, The Substation, Newport; and each Annual Gala at Arts Project Australia since 2011.    


Melanie Irwin

Melanie Irwin merges sculpture and drawing with performance art to explore the ways in which we construct and inhabit geometric space. Recent projects have incorporated oversized balloons, stretch textile membranes and modified metal structures. These envelopes and appendages are pieced together to generate strange amorphous entities that might be propped up on stilts, or wandering around a gallery space. In works that are variously seductive, absurd, comical, or pathetic, the human body’s capacity for elastic adaptability in response to demanding and constrictive circumstances is emphasized and celebrated.

Irwin completed her Masters of Fine Art by research at the Victorian College of the Arts, University of Melbourne in 2013. She has exhibited and performed widely since 2006, including solo exhibitions at West Space (2015) and Heide Museum of Modern Art (2014). Group projects have included exhibitions in Warsaw and Rotterdam and residencies, performances and exhibitions in Berlin and Chengdu. She has been the recipient of numerous grants and awards, including funding from the Australia Council, Creative Victoria, and the City of Melbourne, and an Ian Potter Cultural Trust grant, which supported her participation in the PICTURE BERLIN residency in 2013. Irwin is a founding member of the artist collective Light and Air and Space and Time (LAST).

Visit Melanie's website here

Photo: Christian Capurro

Simone Kennedy (SA)

Simone Kennedy is an inter-disciplinary artist who incorporates painting as her primary medium, supporting various themes on the mother figure and mothering with soft sculpture and installation. Born in England and now residing in Australia, she has a particular interest in the developing psychology of attachment surrounding the mother/infant relationship. In 2005 she completed a Master’s by Research degree in visual arts at the University of South Australia, producing an interpretive investigation of the absence of the mother in relation to the 20th Century artist Balthus Klossowski.  During her research she worked with concepts exploring childhood, adolescence, the developing brain, and in particular the symbolic ‘pattern making’ that emerges from an autobiographical narrative. This set the foundation of her recently completed PhD (by studio) at the University of South Australia where she explored the ‘self’ through re-imagining a symbolic mother figure. 


Visit Simone's website here

Photo: Christian Capurro

Britt Salt

Spatial engagement underpins Britt's practice. She uses transparent industrial materials and mono- chromatic tones to create interactive artworks that explore notions of form and space. In her sculptural work and site-specific installations resilient materials including vinyl and perforated aluminium are drawn, folded and woven into shapes and patterns, creating spaces that gently shift with the viewers’ movement and interaction. 

Significant achievements include the prestigious Art & Australia/ Credit Suisse Private Banking Emerging Artist Award (20130 selection for the ABN AMRO Emerging Artist Award and receipt of the Freedman Foundation Travelling Scholarship for Emerging Artists (2010), which supported residencies at ACME studios (London), Draw International (France) and Red Gate Gallery (Beijing). In 2015 Britt was curated into international exhibition Sala del Portal, Venice, which coincided with the 56th Venice Biennale; she also undertook a residency at Youkobo Art Space Residency, Tokyo, which culminated in a public installation.

Britt Salt's career has increasingly spanned both art and architectural practices, working on large-scale commissioned artworks such as an 8-storey façade for Fender Katsalidis Architects’ in Melbourne. Spanning nearly 3000 square metres, this facade is said to be the largest public artwork in the Southern Hemisphere.


Visit Britt's website here


Siying Zhou

Born in China, Siying Zhou is an interdisciplinary artist. Her work is predominantly presented in the format of installation. Using images, text, video and artefacts, Zhou provokes questions, construct propositions and draw discussions toward social conventions and cultural norms. In Zhou’s works, the complexity of cultural conflict and cultural difference is often articulated through hybrid material representation.

Zhou’s works has been exhibited nationally and internationally, including the group exhibitions: Changing Places (2017), Linden New Art, Melbourne; Ohrwurm (2016), Mainblau Projektraum, Berlin; Not Fair (2014)Melbourne; Testing Ground (2013 – 2014), a touring exhibition curated by Julie Gough; Here and There, Art from Northern Australia, Jogja Gallery, Yogyakarta, Indonesia / Nan Giese Gallery, Charles Darwin University (2010). Solo exhibitions: The Consequences of Success II (2016) at Kings ARI, Melbourne; The Consequences of Success (2014), The Food Court ARI, Melbourne; The Comfort Promise (2014)Northern Centre for Contemporary Art, Darwin.

Zhou has previously taken artist residencies in Barcelona and Berlin. She has been awarded the John and Mary Kerley International Travel Scholarship 2016 and the National Gallery of Victoria Women’s Association Award twice in 2015 and 2017. Zhou currently is a candidate of Master of Fine Art at the Victorian College of the Arts, the University of Melbourne.


Visit Siying's website here. 



The 2018 applications were assessed by Emeritus Professor Kay Lawrence AM, former Head of School, School of Art, Architecture and Design at the University of South Australia, a Director, Board of the Australian Tapestry Workshop and tapestry weaver; Dr David Sequeira, Director of the Margaret Lawrence Gallery, Victorian College of the Arts, University of Melbourne and Antonia Syme, Director of the Australian Tapestry Workshop. 


2017 Artists in Residence 

Freÿa Black

Freÿa Black is a Melbourne based artist, with a background in performance, object design, video/sound and installation. Freÿa’s artistic practice is a conceptual exploration of the passage of affect that exists between artist and art process, artist and observer and the individual in the environment. In consideration of these relationships her work seeks to reveal how precognitive thought and subjectively experienced feeling, or Affects, may be communicated and shared through an interdisciplinary art practice.

In her approach to practice Freÿa  seeks to examine her own methods of art-making, which are often driven by an idea or concept that is not fully recognised or acknowledged in the process but rather felt intuitively. These concepts are informed by ideas surrounding perpetual delay, repetitions and cycles of creation, manifestation and decay. 

Freÿa graduated from RMIT University School of Art in 2015 with a BFA and BFA Honours and was subsequently the recipient of the 2015 RMIT Honours Travelling Scholarship Grant.

Visit Freÿa's website here. 


Image: Aliça Bryson-Haynes & Lizzy Sampson, Rocky Mountain, Hand-made rocks (38 hands) 

Emma Greenwood

Melbourne shoemaker and leather worker Emma Greenwood has carved herself out of a unique space in the world. Her brilliantly off beat kicks reference everything from Victorian needlepoint to hip hop culture and her spectacular shoes have won awards, been exhibited around Australia and have featured in numerous publications both in Australia and overseas.

Using a variety of materials such as leather, postage stamps, electrical wire, and handmade textile trims, Emma’s pieces are highly tactile and previous, referencing a love of colour, humour, symmetry and silhouette.

Eschewing the need for seasonal trends, Emma revisits signature themes and ideas inspired by flora, regalia ,philately, science fiction and pop culture. Either bespoke and highly customised, or in small production runs, she lovingly handcrafts her footwear and accessories entirely from her Melbourne studio. 

“My practice focuses on the manipulation of leather into bold sculptural forms. I combine traditional skills of leatherworking, jewellery and textile arts to produce footwear and accessories with a sense of experimentation and contemporary direction.”

Visit Emma's website here.

Jennifer McCamley

Jennifer McCamley has worked as an individual art practitioner and collaboratively with Janet Burchill since the mid-1980s. McCamley’s work has often engaged with the legacies of modernism and has traversed a wide range of references from psychoanalysis to film, literature to feminism. McCamley works across drawing, painting, screenprinting, textiles, photography, neon and sculpture. Drawing has remained an important element to McCamley’s individual practice and ‘translated’ drawings frequently form the basis of other works. Throughout her time at the ATW, McCamley intends to investigate ‘surface translations and spatial transcriptions’, in order to produce a set of small-scale tapestries.

McCamley and Burchill have exhibited widely nationally and internationally. National exhibitions include Burchill/McCamley at Neon Park (2016), Endless Circulation Tarrawarra Biennale (2016), Redlands Art Prize at National Art School in Sydney (2016) and Imaginary Accord at the Institute of Modern Art in Brisbane (2015). International exhibitions include Concrete at Tophane-I Amire Culture and Arts Centre in Istanbul (2015) and Light from Light at The National Art Museum of China in Beijing (2010/11).

More of Jennifer's work here.

Chris O'Brien

Chris O’Brien is a multi-disciplinary artist who works in painting, printmaking, and sculpture. Utilising a myriad of mediums, he is predominantly concerned with representing domestic dwellings with personal, domestic narratives. He crafts houses in varying states of decrepitude, anthropomorphising them with names such as ‘Edmund’, and populating them with stories involving thieves, ghosts and animals. His source material includes real estate brochures, photos, Google Earth maps, architectural plans as well as pure conjecture. Currently, he is working on a collection of soft-sculpture cacti, which will be presented as a window installation at our Annual Gala in December 2017.

Chris O’Brien (born 1981) has been a studio artist at Arts Project Australia since 2002 and presented his solo exhibition ‘Marjorie Street’ at Arts Project Australia in 2007. He has been involved in many collaborations and group exhibitions including Third/Fourth, Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne (2013), Melbourne Art Fair, Royal Exhibition Building, Melbourne (2006, 2008 & 2010) and Pearls of Arts Project Australia: The Stuart Purves Collection, National touring exhibition (2007-2009). His work is held in private collections throughout Australia.

View more of Chris' work here.

Drew Pettifer

Drew Pettifer is an artist and academic who currently lectures in Art History and Theory and Print Imaging Practice at RMIT University. He completes his PhD in Fine Art at Monash University in early 2017. Drew’s art practice explores themes of intimacy, gender, sexuality and the politics of desire using photography, video, installation, mixed media and performance.

Recent exhibitions of his work include: Some Want Quietly, Daine Singer (2016), Less than Lovers, Utrecht, Tokyo (2015); Territorial Pissings, Bus Projects, Melbourne (2015); Turnintensive, Kunstraum Tapir, Berlin (2014); Melbourne Now, National Gallery of Victoria (2013-14); Mapping the interior: In search of an inland sea, Margaret Lawrence Gallery, Melbourne (2013); and, Androgyne (solo), Nellie Castan Gallery, Melbourne (2013). Drew is currently a member of the Shepparton Art Museum Foundation Board of Directors and until early 2015 served for 6 years as a director of Bus Projects.

He is also a qualified solicitor and works from time to time as an independent curator and writer. His work is held in various collections, including the National Gallery of Victoria, Monash Gallery of Art, Horsham Regional Art Gallery and Shepparton Art Museum, as well as private collections nationally and internationally.

Visit Drew's website to see more of his work.

Debra Porch (QLD)

Debra Porch has a Masters Degree in Art from San Diego State University (1979) and a PhD from the Queensland University of Technology (2006).

Her visual work for over 20 years has focused on the wider notions that question how the ‘everyday’ can be transformed into the ‘extraordinary’ through objects and devices that elicit or conjure up images of one’s past that otherwise may have been hidden (or be invisible) from sight.

Debra Porch has presented her installations in numerous exhibitions. Many of these exhibitions have been associated with artist residencies and cross-cultural dialogues that began with a three-month residency at Chiang Mai University in 1993. Residencies followed in Hanoi, 1996 (via Asialink), returns to Vietnam and Thailand, Cité Internationalé des Arts, Paris (2000, 2013), and in 2010 and 2012, following her family heritage, Porch undertook residencies Yerevan, Armenia.

For Porch, all of these cultural experiences and connections continue to inform her art and have resulted in ongoing projects and reciprocal events. Installation has been used to establish significant triggers of the everyday that may signal relationships between place, history, fact and fiction, revealing that memory is not fixed but oscillates between the ‘real’ and the ‘invented’.

The installations incorporate a range of materials, including constructed and knitted textiles, hair, found/changed objects, electroplating, and video. 

Learn more about Debra here.

Elena Redaelli (Norway)

Italian-born textile and environmental artist Elena Redaelli has lived in Norway since 2013. Redaelli produces site-specific sculpture and installation, created from a deep relationship with place (environmental art) and society (workshops and engagement).

Nature is the main source of inspiration for Reaelli, both as a reference, as a subject and then as an object, becoming part of the artefacts she produces. Her gestures are translated into matter, growing in volumes and modelling from nature. From nature, it extrapolates tension and softness. The resulting surface mirrors and suggests an instinctive knowledge of the world.

Throughout her residency at the ATW in 2017 Redaelli will continue to investigate the interaction between the natural weaving techniques of Europe and Asia; in particular researching the use of natural and sustainable materials within aboriginal, traditional and contemporary weaving practice.
Since 2010 Redaelli has been an active member of international environmental art movements: AININ and YatooI and has been working on international projects in Italy, Germany, Korea, China, and Taiwan. She has participated in international exhibitions, including (between others): Rest Art – Trame d’autore at Imbiancheria del Vajro in Torino, IT; 14 International Triennial of Tapestry at the Muzeum Wlokiennictwa in Lodz, PL and Miniartextil Cosmo in San Franceso’s Church in Como, IT.

View more of Elena's work here.

Gina Ropiha

Gina Ropiha’s practice is an ongoing investigation into her experiences of having been brought up in Aotearoa (New Zealand) as a person of mixed heritage- Maori and Pakeha (New Zealand/English). Ropiha has found her values and beliefs often at odds with materialistic and work-focused first world society she lives in.
The difference, slippage and challenges between these two states is where Ropiha’s interest lies, allowing for a humorous and dynamic space in which to produce work.

Since living in Australia Ropiha has become interested in making objects that are personal adornments and has been involved in projects where the wearer of said adornment responds to and has the ability to change the work in some way. In Maoridom, there is no separation between ‘Art’ and life. Objects that are made for ritual and utilitarian purposes alike are considered important and a vital and active part of people’s everyday existence. Through the 2017 ATW residency program Ropiha intends to learn from the ATW weavers while conversing with the environment- both land and physical space of the workshop.

Ropiha is considering producing works based on Maori hand making practices. As is always the case in Maoritanga, engaging with any traditional practice activates and addresses ideas regarding tapu (sacredness) and noa (temporality)- issues that will be considered throughout the making of the work.

Ropiha has exhibited nationally and internationally and at venues including but not limited to Blakdot Gallery in Melbourne (2016) La Paz, Bolivia (2014), Museo Nacional de Culturas Populares in Mexico (2014) and Objectspace Auckland in New Zealand (2013). Ropiha participated at the Weaving Worlds project and exhibition at the ATW in early 2016.

Learn more about Gina's work here.

Carly Snoswell (SA)

Carly Snoswell is an emerging South Australian artist who works within the medium of installation and textile art. Her practice considers the link between fandom and the creation of craft objects as an ode to a particular pop-cultural phenomenon through gendered and labourious forms of craft-making. In 2012 she graduated with First Class Honours at the South Australian School of Art, Architecture and Design specialising in sculpture and installation.

Since then she has exhibited widely including internationally, most recently at Seventh Gallery, Format Collective, FELTspace and the CACSA Project Space. In 2013 she participated in the Helpmann Academy's Sanskriti Kendra residency in India and in 2014 she completed a three-month studio residency at the NARS Foundation in Brooklyn, New York. She is currently a member of Boiler Room Studios, Artist Assistant at Carlcew’s Pom Pom and Co-Director at FELTspace ARI.

View Carly's website here.

Superpleased (Sue Buchanan and Eli Giannini)

Sue Buchanan and Eli Giannini collaborative studio practice, Superpleased, allows for joint-investigation through the practice of architecture, installation and object-making (through the creation of jewellery, ceramics and small sculpture). Themes relating to living in the urban environment are constantly explored throughout the work. Emphasis is placed on how nature meets the city and how we negotiate, interpret and ultimately ‘belong’ to our particular ecology: the urban habitat.

Through the 2017 ATW residency program Buchanan and Giannini intend to create ‘test’ pieces that explore sensory and visual aspects of urban environments. Buchanan and Giannini’s joint achievements include the realisation of various ambitious large scale projects and being selected as finalists for the Helen Lempriere Award Sculpture Prize, the Melbourne Prize for Urban Sculpture, the Yerring Station Sculpture Award and the Future Melbourne Digital Harbour Award.

View more work by Superpleased here.

Zilverster (Goodwin & Hanenbergh)

Zilverster is the collaborative title under which Sharon Goodwin and Irene Hanenbergh have operated under since they began collaborating in 2010. Goodwin and Hanenbergh have garnered strong individual reputations for their imaginative, elaborate and meticulously rendered expanded drawing and painting practices. What began in 2010 as a problem solving exercise – with one artist offering problematic, unfinished works to the other for advice on resolution – has evolved into a rich shared practice that continues to extend the discursive as well as process potentialities of each artist. While there are many shared interests and concerns between the two artists – (art) history, fantasy, cult iconography, alchemy, supernatural phenomena to name a few – each operates from a distinct temporal and imaginative framework: Goodwin’s contributions are embedded in a medieval, Gothic context while Hanenbergh’s derive from a European Romantic sensibility. Zilverster’s practice continues to develop out from an original series of beautiful, fantastical drawings that remain compelling in their strangeness.

The ATW 2017 residency program will allow Zilverster to be able to set up work and reference materials in a dedicated space, creating opportunities through continuity and contemplation. In addition to Zilverster’s maiden-exhibition at Sarah Scout Presents (2015), the collaborative duo was also included in the National Gallery of Victoria’s ‘Lurid Beauty’ exhibition in 2015. Zilverster exhibited at the Spring Art fair in Sydney in 2015 and presented an ambitious and larger scale sculptural project at the Spring Art fair August 2016 at the Windsor Hotel in Melbourne; was shortlisted for the 2016 National Works on Paper Prize held at the Mornington Peninsula Regional Gallery and was also featured in ‘I'm Genuinely Lost. Give me guidance’, at the Margret Lawrence Gallery (VCA).  Zilverster (Goodwin & Hanenbergh) is represented by Sarah Scout Presents, Melbourne.

View more of Zilverster's work here.


2017 Applications were assessed by Prof Kay Lawrence AM, Former Head School, School of Art, Architecture and Design at the University of South Australia, member of the Board of Directors of the Australian Tapestry Workshop and tapestry weaver. Antoina Syme, Director of the Australian Tapestry Workshop, and Jenny Port, Business and Adminstration Manager of the Australian Tapestry Workshop. 



2016 Artists in Residence 

Aliça Bryson-Haynes & Lizzy Sampson
January- March

Aliça Bryson-Haynes and Lizzy Sampson have worked collaboratively since 2011. For 2 years they co-directed Coalesce ARI and in 2013 established In The Meantime Collective. While both have distinctively different individual practices, their collaborative work has allowed rich and unexpected outcomes. Their previous work spans across a diverse range of mediums which includes papier-mâché, photography, performance, video art and installation.

For their latest collaborative effort as artists’ in residence at the ATW, they will explore and question the concept of being welcome or unwelcome, by creating a series of artworks similar to the form of typical WELCOME mats found at peoples’ front doors, the mats will contain a single word to evoke questions on the theme of welcome/ unwelcome. 

You can check out more of Aliça and Lizzy's work on their websites, or their website for their collaborative work In the Meantime here.


Image: Aliça Bryson-Haynes & Lizzy Sampson, Rocky Mountain, Hand-made rocks (38 hands) 

Andrei Davidoff
April - May

Andrei Davidoff is a Melbourne based artist whose works deals with architectural spaces and objects that populate them. In the past his work has explored themes of memento mori, the vessel and containment as well as implied historic value. He works primarily with ceramics and pairs this craft based medium with unusual materials such as, lead sheeting wood and glass.

As an artist in resident at the ATW, his latest project will explore the limits of functionality in craft based mediums by combining a series of ceramic semi-functional vessels with a series of small weavings, which will in some cases hamper but in other cases enhance the functionality of these mediums. 

You can see more of Andrei's work here

Anna Dunnill (WA)
October - December

Anna Dunnill is a Perth based artist whose creative practice is based on text and drawing, expanding into embroidery, ceramics and stick-and-poke tattoo. Her recent past work  has explored the idea of the skin as a questionable and permeable boundary of the self, which allows the self to expand and contract irregardless  of the physical boundary of skin.

During her residency at the ATW, she will develop a body of work that explores religion and ritual in relation to the body. She will build on her current work of tattoos and textiles, as Her project will develop into a series of drawings, textiles writing and performance pieces that will explore religious ceremony and ritual in relation to the body.

You can see more of Anna's work here.

Cat Poljski

Cat Poljski is a Melbourne based printmaker who explores relationships between spatial atmospheres and the printed image, in particular notions of ‘the city’. As city structures change with urban growth Cat imagines the interlocking buildings ‘collaborating’ as they reconfigure their immediate environment. Cat reflects upon these ideas in her work as she endlessly overlays fractured cityscapes, revealing they ways in which she sees the city space.

For her residency at the ATW Cat will experiment with both techniques and materials associated with tapestry making. By using line and form as a central focus point, Cat will then go forth and transform her ideas using thread.  

You can see more of Cat's work here.

Claire McArdle
January - March

Claire McArdle is a Melbourne based artist whose practice explores jewellery and objects and the experiences imbued by them. Her works create contexts for conceptual  works to influence their perception, and is realised through  a broad range of materials including metal, textiles stone and wood. Her previous works include solo exhibitions, Public Displays of Attention (2012), Gilty (2013), and Identity Fair (2014).

As an artist in residence at the ATW, she will continue to expand upon the theme of her work from Identity Fair, which seeks to raise questions about the Australian identity by encouraging a personal exploration of the self, how we define our identities and how it extends to a national identity. She will create new works using naturally dyed Icelandic wool which will later be part of a solo exhibition in 2016.

You can see more of Claire's work here.

Clementine Barnes (NSW)
February - April

Clementine Barnes is currently undertaking a residency program in the Art Gallery of NSW Moya Dyring studio at La Cité internationale des arts in Paris. Her work is motivated by her personal experience to textiles. She uses cotton thread, woollen yarn, needle point and weaving to explore themes of gender, space and craft vs. art. 

Her new work as part of the artist in residence program at the ATW will see her create a series of weavings that will be stitched together to form a final collage. The individual weavings are influenced by her research into 17th-19th century lace and embroidery samplers and subsequent suit of screen prints she is currently working on. The work is a homage to the women who produced the original exquisite samplers.

You can see more of Clementine's work here.

Debris Facility
September - November

Debris Facility is a parasitic methodology that’s taken hold of the host body of Dan Bell since 2015. Manipulating and re-purposing the host, and it’s resources, the Facility tends to work collaboratively, situationally, and responsive to site. Recently they have produced a collaborative show between Dan Bell and Debris facility at Westspace, Consequences of compression, which has leaky boundaries into other sites and exhibitions. They’ve self initiated a studio project for spring equinox, which also related to work produced for a multi-artist project as part of the 2nd Tbilisi triennial. Their works exists in multiple formats, across different spaces- through gifts, private collections, public incursions, and landfill.

While undertaking a residency at the ATW, Debris Facility would utilise their project to further research into textiles as a membrane and framing device for the body, and how those borders shift. A possible outcome of the residency could be a base site, with the leaking of the works into the surrounding areas, and integrated into wearable textile works to come into play. 

More infomation about the work can be found here.

Eva Heiky Olga Abbinga
October - November

Eva is a cross disciplinary visual artist motivated by an interest in complexities of place, identity and sustainability. Through installation, sculpture, painting and photography she explores issues of social, environmental and economic concern and aims to create a dialogue with the viewer that questions existing notions of the urban ideal.

As an artist in residence at the ATW, Eva will create a contemporary Wagga. Wagga’s are an uniquely Australian innovation in textile art, made from quilted pieces of scrap fabric. She will create a small patch of tapestry, made from scrap bobbin ends to be incorporated into the finished Wagga.

More work by Eva can be found here.

April - May

HANDMADELIFE is an ongoing creative collaboration between Ramona Barry and Beck Jobson. They are independent writers, makers and thinkers specialising in craft and design. They are bloggers, curators, broadcasters and the authors of The Craft Companion the new, definitive craft bible published globally by Thames and Hudson AU.

Ramona Barry is a Melbourne based writer, curator and maker specialising in craft and design, as well as an accomplished painter and poet. Her work has been published widely in both local and international print and online media. She has served as Chair of the Victorian Crafts Council, and is regularly called upon to speak publicly about contemporary craft practice.

Beck Jobson is a Melbourne based designer/maker, curator and self-described hack journalist. She has worked extensively in the craft and design industry, personally mentoring local and international makers. Over a decade at Craft Victoria she curated exhibitions, managed events and developed support, advocacy and education programs. Today Beck balances writing work with a textile based studio practice that spans production and exhibition works.

As their residency project at the ATW, they will explore ideas surrounding the collaborative process, which reflects not only their practice but the ethos of the workshop itself. This will culminate in their collaborative work the process of which will be documented online and in audio podcast format. The finished work offers a chance at reflection of the process. Through their public talk they will share not only the finished work but give insight into the process of collaboration through observation, learning, communication and execution throughout the residency.

More work by HANDMADELIFE can be found here.


Photo by Hilary Walker.

Jennifer Goodman
March - April

Jennifer Goodman is a Melbourne Based artist with a degree in painting from RMIT University. She has exhibited extensively across Australia, her latest solo exhibition titled Apopros was held in Gallerysmith, Melbourne.

Jennifer approach to art is that art is a sensory experience. Her work is an exploration of the senses. Her paintings seek to elicit a response from the viewer on many levels – to engage with both their emotional and visual intelligence; to be immersed in the beauty of the color, form and surface of the painting.

During her artist in residency program at the ATW, she plans on furthering this line of investigation through the medium of tapestry. She is intrigued by possible outcomes of interpreting the subtlety of color and illusions of transparency found in her own oil paintings into the much more textured medium on tapestry.

See more of Jennifer's work here.

John Brooks
August - September

John Brooks has a background in Studio Textiles at RMIT, he completed a Bachelor of Fine Art at the Victorian College of the Arts in 2013 and a BFA honours from Monash University in 2014. Recent solo exhibitions include Upward, Beyond the Onstreaming it Mooned at Bus Projects, Equine In(ter)vention at Kings ARI, and group exhibitions Percy Grainger: In the Company of Strangers at Bayside Gallery and Kraftwerk: Man Machine at BLINDSIDE.

Brooks’ work spans the mediums of weaving, collage, drawing, video and soft sculpture, exploring textile history, ecology, duality, mythology and alternate realities.

During his residency at the ATW, he will be developing a series of drawings inspired by the Icelandic landscapes in Blonduos, into a series of small tapestries. Like the drawings themselves, the tapestries will have an abstract landscape quality that draws from the idea of alternate realities and the otherworldly quality of the Icelandic landscape.

See more of John's work here. 

Kirsty Macafee

Kirsty Macafee is a recent graduate of RMIT University with a Bachelor of Arts (Fine Art) majoring in Print Imaging Practice. Her recent solo shows include, exercising my right to be forgotten, RMIT University and Playing The Hand, BIFB13 Fringe Show, Ballarat.

Her current practice is multi disciplinary and process based. It is informed by an expanded and deconstructed view of photographic print practice. Her recent projects have employed photographic fundamentals of time (or duration), space and light to create works which are at once photographic and not. Where the ‘outcome’ of her recent works has been a perceptual shift from the surface of things to their structure.

As an artist in residence at the ATW, Kirsty proposes to continue her structural investigations whereby she will explore the visual and spatial support structures both within a woven work and within the building. Her work will engage primarily with the structures essential to the way in which a tapestry is formed and will ultimately be realized but rendered invisible at the moment of reception.

See more of Kirsty's work here.

Louise Meuwissen
October - November

Louise Meuwissen is a Melbourne based artist working predominantly in painting, embroidery, and installation. Her work explores perception, contradiction, the imaginary, categorisation and regimes of value within contemporary consumerist society. Meuwissen completed her Bachelor of Fine Art majoring in Painting, and minoring in Printmaking at The Victorian College of the Arts in 2013. She has participated in numerous group, collaborative and solo exhibitions in Melbourne, Sydney, and New Zealand, including Seventh, The Living Museum of the West, George Patton, Margarete Lawrence, & Craft Victoria. In 2015 Meuwissen undertook a Residency scholarship at Earthskin Muriwai, New Zealand, and was a finalist in the Victorian Craft Awards.

Meuwissen’s practice is vested in sustainability and tactility which coincides with the ethos behind The Australian Tapestry Workshop. She usually utilises found materials, but access to the sustainable resources and colour pallet of the Workshop would complement her sense for colour, allow for exciting new ventures, and opportunities for knowledge-sharing, upskilling and collaboration with the Artist Master-Weavers.

You can see more of Louise's work here.

Martha Poggioli
November - December

Martha’s practice is centered on the body and its relationship to society and the built environment. Currently, she makes garments, objects and structures that seek to enable a personal utopian vision. She is interested in the representation, repetition and process of the handmade.

During the residency Martha will be exploring the notion of clothing off the body by continuing to develop a series Objects of Multiple Function. 

Find our more about Martha here.

Penelope Hunt
March - May

Penelope Hunt has a Masters in Contemporary Art (1st Class Honors) from the Victorian College of the Arts (V.C.A.). Her recent solo exhibitions include Remains to be seen at the Rubicon ARI, Melbourne and Night Games, Chin Chin Wall of Art, Melbourne and group exhibitions include Quarter Acre, curated by Adriane and Verity Hayward for Blindside, Melbourne.

Her imagery investigates and reflects upon the emotional weight that places, objects and personal artefacts can retain. Her work often presents a world of beauty and aestheticized decrepitude as she explores personal experiences that resonate in a wider shared experience.  

As an artist in residence at the ATW, she will produce a new body of photographic and video work exploring the ATW studio and everyday detritus that remains.. An ongoing interest in repetition within our everyday lives will be explored through the weavers’ movement, process and spools of colored yarn.

See more of Penelope's work here.

Sera Waters (SA)

Sera Waters is a South Australian based artist. Her practice merges embroidery with other hand-crafting skills to create soft sculptural and often wall-based art. Overall her practice is one which explores modes of making requiring long periods of time, meditative states of repetition, applications of pattern, as well as a penchant for meticulousness. After undertaking a Bachelor of Visual Arts (Honours) at University of South Australia, then a Masters of Art History at University of Adelaide, in 2006 she was awarded a scholarship to train for a short period at the Royal School of Needlework. Her recent solo exhibitions include Spectre Folk, Hugo Michelle Gallery, Adelaide, and Ghostscapes, Fontanelle Gallery, Adelaide.

As an artist in residence at the ATW, she will develop a new body of work that amalgamates canvas work and embroidery (on linen and other grounds) into irregularly shaped wall hangings. Driving these experimentations will be the intention to make connections between specific people, places (landscapes) and stories of her family history research. 

See more of Sera's work here.


2016 Applications were assessed by Prof Kay Lawrence AM, Former Head School, School of Art, Architecture and Design at the University of South Australia, member of the Board of Directors of the Australian Tapestry Workshop and tapestry weaver. Antoina Syme, Director of the Australian Tapestry Workshop, and Jenny Port, Business and Adminstration Manager of the Australian Tapestry Workshop. 





2015 Artists in Residence 

Rebekah Archer
February & March

Rebekah Archer has recently completed a BA in Textile Design at RMIT, majoring in weave. Her work focuses on sustainable fashion, with a core philosophy based around the principles of slow design. She considers adaptability, durability and purpose as an imperative part of the creation process. Rebekah is primarily interested in the act of making; her work is on ongoing study of what it means to holistically and transparently construct textiles by hand.

Rebekah currently runs a sustainable jewellery label ‘Lorica’, where she creates contemporary, one off pieces using discarded materials such as bone, recycled yarns and metals - check out more of her design's here, on her website. She has exhibited textile and jewellery work locally and nationally.  

Gabrielle New
February & March

Gabrielle New is a director, performer, choreographer, butoh dancer, movement, live and contemporary artist with a profound interest in healing, transformation and the intra-psychic landscapes of the human mind. In 2009 she established The Space Between Performance Collective to showcase new, innovative, Australian dance theatre. She regularly performs and teaches in Australia and internationally most recently in New Zealand, Poland and Canada. In 2014 she completed a Master of fine Arts at RMIT Melbourne where she extended her practise to video performance and installation. Check out more of Gabrielle's work here, on her website. 

Phil Ferguson AKA Chiliphilly
March, April & May

Originally from Perth where he studied Fine Arts at Curtin University, Phil Ferguson’s recent move to Melbourne has lead him to create crocheted, food themed hats, primarily inspired by Melbourne's food culture. 

Ferguson uploaded his creations onto the social media application Instagram in hope of forming connections within the new community he has entered. Since August 2014, his Instagram account @chiliphilly has taken off, having reached 10,000 followers and gaining features in publications such as Frankie Magazine, and articles on news sites such as Huffington Post, BuzzFeed and The Independent UK.

Yufang Chi
April & May

Yu Fang Chi completed her Bachelor and Master degree in Taiwan. She is a current PhD candidate within the School of Art at RMIT. Her research project investigates the concept of femininity in jewellery and objects and its cultural connotations. Based on the theories of gender study, Yu-Fang introspects the processes of creation and the position of female body. Her practice involves repetitive fibre-related techniques using synthetic fibre which can be connected to traditional domestic art processes. You can check out more of her work here, on her website. 

Cat Rabbit
June and July

Cat Rabbit is a Melbourne based textile artist who creates anthropomorphised plush animals while imagining the worlds they might live in. Cat's practice is centred around the idea of making extraordinary objects out of humble materials. Working with soft sculpture and embroidery techniques, Cat creates one of a kind pieces for exhibitions, her online store and selected markets and retailers. Cat also works with collaborator Isobel Knowles under the name Soft Stories; creating children's books, exhibitions and holding craft workshops.

Check out more of her work here, on her website and here, on her flickr page. 

Nicholas Chilvers
May & June

Nick Chilvers’ live and recorded performance artworks involve dance, musicality and theatricality to establish scenes where relations between people are played out. Through collaborative and multi-disciplinary process’, Nick Chilvers explores the individual inner self, and the notion of core-identity in relation to the external world of art, people and things.

Lisa Hilli & Eddy Carroll

Lisa Hilli is a current Masters of Fine Art by research candidate at RMIT University, with the enquiry of re-contextualising a historical body adornment from the Pacific region through various materials and craft techniques. . Hilli's practice has evolved from photography to video installation, hybrid animation and most recently weaving. A co-founder of the Pacific Women's Weaving Circle in 2010, Hilli has gained a significant understanding of interpreting customary weaving techniques and cultural knowledge from the Oceanic region within contemporary contexts. Hilli is interested in meaning imbued through objects, the language and historical exchange of materiality and the evocative narratives associated with the handmade. You can check out more of Lisa's work here, on her website. 


Eddy Carroll makes soft sculptures. Her predominantly textile based art practice is one of meditation/contemplation through action of the hand sewn. She creates structure, form and solidity using and subverting textile techniques and ‘crafts’ of traditional feminine actions. The theme and language of adornment, decoration, costume, folklore, urban myth are hand sewn into the contemporary context via the soft sculpture. Her Background majoring in Fine Art/Drawing as well as Art in Public Space at RMIT lead way to research based around Language and the Hand Sewn. Eddy Carroll commits to technical disciplines and a conceptual underpinning of Sublimation, Emotional Resonance while generating objects related to and separated from the body. Her research, art making and skill sharing around the world via the handmade ornament makes for a practice of tenderness in exchange.

You can check out more of Eddy's work here, on her website. 

Nina Magee
July, August & September

Nina Magee is a Tasmanian-born artist, living in Melbourne. Nina finished a Bachelor of Fine Arts with honours, majoring in printmaking, at RMIT University in 2013. Following completion of her degree, Nina was awarded the Collie Print Trust Scholarship for Emerging Victorian Printmakers by the Australian Print Workshop. 

Grounded in the practice of printmaking, Nina's work examines how visual natural history records and specimens are composed and displayed, with an emphasis on the native flora and fauna of Australia. Her work combines printed elements on paper and textile, often with a three-dimensional outcome. The resultant works question the relationship humans have with the non-human world. You can check out more of Nina’s work here, on her website. 

Megan McPherson
October & November

Megan McPherson gave a free talk about her practice and her residency here at ATW.

Megan McPherson is a practicing artist and printmaker who works with paper investigating notions of identity, affect and agency in space and place. Her work is informed by feminist critical theory and pedagogic approaches to think about the ways we show materially affective ways of being, doing and making.

She has exhibited artwork nationally and internationally since 1989. Megan is also an educator and writer and is currently completing her PhD in the Faculty of Education, Monash University, writing a thesis on the role of the crit within the art school.

To find out more about Megan you can visit her website here, or find her on Twitter and Instagram - @MeganJMcPherson. 

2015 Artists in Residence were selected by a panel including Curator and Lecturer at Melbourne University, Dr Rebecca Coates, Kay Lawrence AM, Adjunct Professor in the School of Art Architecture and Design at the University of South Australia, and Jenny Port, Business and Administration Manager at the ATW. 



2014 Artists in Residence

Lyndall Watson

January & February

Lyndall Watson is an emerging artist and sometimes designer. She has a Bachelor of Arts (Textile Design) at RMIT University, including an exchange semester at Nottingham Trent, UK. She considers herself a grommet of the textile world or “weavling”, only just scratching the surface of woven knowledge. 

Despite this, Lyndall holds a core philosophy of complexity as a result of the mastery of simplicity. Her practice involves weave being reduced to a basic one-to-one ratio of yarn over yarn - the simplest constructed textile concept. This modest beginning considers the material as an inherent part of process. Lyndall hopes to capture this in her work, giving her thought processes a tangible existence.

To view Lyndall Watson's website please click here 

Lyndall Waston did a free artist talk about her residency at the Australian Tapestry Workshop on February the 27th 2014. 

Michelle Hamer

February & March

Michelle Hamer uses hand-stitched pixilation to map the small in-between moments of apparent ‘nothingness’ that characterise everyday life. Her work focuses on text and signage within urban landscapes. It highlights contemporary social beliefs, ideals and ironies as witnessed in both impermanent and interstitial spaces. Hamer’s work is based on both ‘found’ text and her own photographs -translated predominantly by eye into her stitched works. 

Represented by Fehily Contemporary, Michelle Hamer is currently part of ‘Melbourne Now’ at the National Gallery of Victoria; has received Australia Council, Arts Victoria and City of Melbourne grants; had eleven solo exhibitions; partaken in numerous group shows and has work held in public and private collections nationally and internationally including at the National Gallery of Victoria and Artbank.

To view Michelle Hamer's website please click here

Michelle will be doing an artist talk at ATW on the 15th of April at 1pm.

Storm Gold

March & April

Storm Gold’s work explores the contrasts between experience and memory. Using a range of personal and ethnographic iconography Storm is interested in the potential of abstraction through distortion and invention. He has a love for materiality and considers all of his work to be about painting as an expansion of the associated parameters.

Born in South Africa and Melbourne based, Storm holds a Master of Fine Art from Monash University and has exhibited locally and internationally. He was a recipient of a New Work grant (emerging) in 2007 and a Skills and Arts development grant in 2012 from the Australia Council for the Arts.

To view Storm Gold's website please click here

Storm Gold will be giving a free talk about his residency on Tuesday the 20th of May at 12:30pm, all are welcome. 

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. 

Caroline Phillips

April & May

Caroline Phillips is a Melbourne based artist whose work has been shown in a number of solo and group exhibitions throughout Australia and Internationally.

Working primarily in sculpture, Phillips employs recycled and industrial materials to create handmade objects and installations. Though based on non-objective principles, Phillips’ transformation of her chosen materials, explores the materiality of the body and psychological metaphor to materialise subjectivity.

Caroline also works as an independent curator and arts writer.

To view Caroline Phillips' website please click here

Caroline Phillips gave a talk about her residency on Thursday 8th of May, 2014.

Vicki Mason


Vicki Mason was born in New Zealand and moved to Australia in 1999. She obtained a Bachelor of Arts from Otago University (Classical Studies), and a Diploma in Craft Design from Otago Polytechnic School of Art (Jewellery), both in Dunedin, New Zealand. After studying, she worked for two years at Fluxus workshop and gallery with renowned New Zealand jewellers Kobi Bosshard and Georg Beer.

Mason teaches in the adult education sector and in 2012 completed a Master of Philosophy degree in the Gold and Silversmithing at ANU in Canberra. She runs a production practice and makes work for exhibition. Mason has been awarded various grants and her work is held in both public and private collections. Her most recent work was shown in the summer exhibition Melbourne Now at the National Gallery of Victoria, Melbourne.

To view Vicki Mason's website please click here

Natasha Dusenjko

June & July
Natasha Dusenjko is currently based in Melbourne. In 2010, she was the recipient of an Australia Council grant and her work was part of Love of Diagrams at Perth Institute for Contemporary Arts, curated by Leigh Robb. Solo exhibitions include Babel at Craft Victoria (2009), and New Forms at Counihan Gallery (2014).
Dusenjko has a strong interest in using diagrams to represent systems of language and geography. These systems, however, map coordinates known only to the artist, and collapse an ordered, archaeological system of classification with seemingly random, and invented linguistic notations and calligraphy. Most recent projects engage photography, while extending on concepts developed in her drawing and sculpture practice which mimic hieroglyphic and architectural form.

Troy Emery

August & September

Troy Emery is an artist based in Melbourne and has an object based sculptural practice. He grew up in Toowoomba Queensland but relocated to Hobart to attend art school. He graduated from a Bachelor of Fine Art (hons) at the Hobart School of Art, University of Tasmania in 2005. Troy then completed a Masters of Fine Art at Sydney College of the Arts, University of Sydney in 2010.

Troy Emery creates suites of artworks where dislocated animal forms are brought together as a collection through a uniform approach in their construction and materials, becoming pastiches of each other and the idea of a collection of animals itself. Troy Emery’s work is about how the history of our relationship with animals is underpinned by our ability to give meaning to them and use them in allegory and metaphors.

To view Troy Emery's website please click here

Gillian Lavery


Gillian Lavery’s art practice is a process-based drawing practice informed by her background in textile art.  She uses repetitive drawing processes through a variety of materials including thread, ink and lead onpapers and cloths to record the exploration of particular questions.  She is interested in the translation of repetitive processes between textile and drawing mediums. Lavery’s work prompts questions such as “What happens when you approach drawing as if you were stitching, stitching as if you were drawing?”  Repetition and iteration are indicative of a learning process and create a space for her to ponder the questions posed by the particular project.  Gillian Lavery’s practice explores repetition and line or mark-making in conjunction with language, the use of mark-making as both sign and index.

To view Gillian Lavery's website please click here

Dell Stewart

October & November

Dell Stewart's work combines various processes often regarded as belonging to the world of craft (ceramics, textiles, animation) with a deeply embedded personal history. These practices and references often assemble in immersive environments, blurring the boundary between the artwork, the space it occupies, and the audience within it. Her work utilises a broad range of mediums and ideas with a particular interest in fostering new material connections and collaboration.

Stewart has organised and participated in numerous exhibitions, and has shown extensively in Australia and overseas – recently at West Space (2012), Linden Contemporary and Craft Victoria (2013). Dell has curated exhibitions at Craft Victoria, Utopian Slumps, Mr Kitly, Platform Contemporary Art Spaces and C3 Contemporary Art Spaces in Melbourne, working with artists locally, nationally and internationally. She has designed and delivered workshops in animation for both adults and children at Artplay (2010, 2011), Signal (2010, 2012, 2013), Harvest Workroom (2012) and Craft Victoria (2012, 2013). She has a BA in Fine Art (Printmaking) and a Post-Graduate Diploma in Animation and Interactive Media RMIT (2001).

To view Dell Stewart's website please click here.

Emily Ferretti

October & November 

Emily Ferretti's practice draws from both autobiographical and imaginary sources and focuses on themes from the everyday world, predominantly ideas surrounding Home, Sport and Nature. These concepts are translated through still life, and constructed scene paintings.

A selection of recent exhibitions include Paint Everyday, Sophie Gannon Gallery, Melbourne; Jungle, Ryan Renshaw Gallery Brisbane; Geelong Contemporary Art Prize, Geelong Art Gallery, Victoria; Paul Guest Prize,Bendigo Gallery, Victoria; Between Painted Places, Firstdraft, Sydney; Pot Plants and Landscapes, Gertrude Contemporary, Melbourne; Slowness, Monash University Museum of Art, Melbourne; Small World, West Space, Melbourne. She has recently finished a two year studio residency at Gertrude Contemporary, Melbourne, and was a recipient of the 2010 AGNSW Moya Dyring Memorial Art Award with a residency at the Cite des Arts Internationale’ Paris. She is represented by Sophie Gannon Gallery Melbourne.

To view Emily Ferretti's website please click here

Nikos Pantazopoulos

Novemebr & December

Nikos Pantazopoulos was born in Melbourne in 1973 he completed his BFA at VCA 1999, MFA at Goldsmiths University 2007, and PhD How to make a monument at Monash University 2013. He is a lecturer in Print Imaging Practice - Photography RMIT. Pantazopoulos’ recent projects include; A monument to toilets: an exhibition and procession - White cubical toilet gallery, London 2010, A Spartan Monument Octopus 10 - Gertrude Contemporary, Melbourne 2010, Dark Rooms - RMIT Project Space, Melbourne 2013, Decisions - RMIT Project Space, Melbourne 2013, Private View & Occasional Performance – Dudspace, Melbourne 2014, The Purple Onion - TCB Inc.,Melbourne 2014, Re-Building - The Substation, Melbourne 2014, Krems Residency, Vienna 2014, Boutique Politics - Westspace, Melbourne 2014, Australian Tapestry Workshop Residency, Melbourne 2014

To view Nikos Pantazopoulos' website please click here


2014 Artists in Residence were selected by a panel including ATW Director Antonia Syme, Curator and Lecturer at Melbourne University, Dr Rebecca Coates & Kay Lawrence AM, Adjunct Professor in the School of Art Architecture and Design at the University of South Australia.




2013 Artists in Residence 

Nicole Breedon
Jan-Feb 2013

Nicole Breedon’s multi-media practice examines the esoteric nature of our cosmos and the human psyche through the hands of a highly skilled craftsperson.

Utilising and acknowledging traditional methods of creation such as carving and painting, as well as video and new media, her current work investigates paradox and existential idealism, bastardising highly symbolic tropes, idyllic objects found in everyday life, as well as motifs from popular culture, cinema, still life and historical illustration.

Sue Pedley
February 2013

Sue Pedley is an artist of place. She forges links within and between places, to bring attention not only to the specific and perhaps overlooked qualities of the place we might be standing in, but also to the relationship of this place to other places, and hence to other histories, cultures and power stakes. Her site-specific interventions are often subtle and ephemeral, designed to evince reflective responses, poetic musings, and a gentle form of embodied awareness.  - Jacqueline Millner 2002

Paul Yore
June-July 2013

Paul Yore is a contemporary artist whose installation and textile works encompass the visual language of psychadelia, expressing notions of truth, politics, and deeply personal emotions. The familiarity and domestic warmth of his work evokes DIY craft activities, while the simple matieriality of the work suggetss the values of Arte Povera. Knowingly pointless yet highly ritualised, his practice utilises craft and naive decoration to reflect and refract personal experiences od reality. 

Kyoko Imazu
July-September 2013

Kyoko Imazu creates intaglio prints and artist books. Animals and folkloristis monsters such as yokai (Japanese supernatural monsters) are predominant themes in her art practice, driven by a curiosity about the world of animals and folklore, and an urge to record and interpret these creatures. 

During her residency at the ATW, Kyoko will produce a suite of artist books with paper cuts and hand-printed images that continue her current investigation into these themes.

Fleur Brett
October to November 2013

Fleur Brett's work stems from an interest in landscape and a type of mapping of place through the process of weaving or playing with scale to build up abstract forms and 'sites'. Her practice is primarily sculptural, incorporating elements such as fibre, weaving (basketmaking, carpetmaking, tapestry & knitting), sculptural installation, drawing, painting and printmaking. 

Lily Fish
September-October 2013

Lily Fish, a theatre artist, physical theatre performer, writer, director, actor and 2012 ATW Artist in Residence, will return to the Workshop in 2013 for further development of her solo show, Yarn

Christina Cie
November 2012

Christina Cie designs patterns for a range of surfaces, and purposes. She specialises in developing 'families' of related patterns. Her work is underpinned by academic research and writing, and she is currently undertaking PhD research into the application of pattern in service design.



2012 Artists in Residence 

Jodi Heffernan

Jodi Heffernan’s work focuses on the texture, lights, shade and reflections found in nature, with an interest in the craft and artistry of making. During her residency, she explored the challenges, shared by the weavers, of translating work from one medium to another.

Lily Fish

Lily Fish is a theatre artist, physical theatre performer, writer, director and trained actor. Her residency focuses on ‘Yarn’, a solo narrative theatre piece about an image in a tapestry who comes to life and begins to unravel.

Lucas Grogan

Lucan Grogan sources his inspiration from his immediate environment, and his work is exclusively autobiographical, even when abstracted. He incorporates embroidery, drawing, painting and installation into his practice, and during his residency, he created a new patchwork quilt.

Kate Just

Kate Just works across various media but is best known for her large scale knitted sculptural works. Inspired by a Velazquez’s painting Kate is using her residency to make a work weaving the activity of women artists into the narratives of works that they make.

Ema Shin

Ema Shin uses traditional Japanese water based wood block printing and handmade paper together with raw fabric, drawing and stitching in an attempt to break the conventional boundaries of printmaking. During her residency Ema will make new work for an exhibition in Japan.

Julie Bradley

Julie Bradley uses stencilling, collage and drawing to create works on paper that investigate connectedness and express aspects of an emotional landscape and states of being. During her residency Julie plans to make a series of small-scale mixed media works for a future exhibition.

Lauren Cruickshank & Helen Smith

Lauren Cruickshank & Helen Smith are practising Butoh dancers. During their residency they plan to create a movement vocabulary based on weaving, and then create a dance-based narrative inspired by a tapestry or a dance exploring the process of weaving itself.

Kristin Saeterdal

Kristin Saeterdal is a Norwegian tapestry weaver whose recent work has commented on issues relating to technology and the environment. She will concentrate on making drawings and small tapestries, and also share her knowledge of the traditional tapestry culture of rural Norway.