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.
2017 Artists in Residence
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.
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 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.
Michelle Nikou (South Australia)
Michelle Nikou was granted a NAVA fellowship in 2016 enabling her to travel to the village of Sukarara in Lombok (Indonesia) for research. Sukarara is a traditional weaving village that uses natural dyes from plants and seeds. This experience, coupled with Nikou’s ongoing visual research, shall act as a catalyst for Nikou’s textile investigations at the ATW.
Nikou’s practice to date has been based on the inventive use of traditional art materials and casting techniques as a foundation for sculpture and installation. Strategies of play, spontaneity and the non-rationalization of subject are at the fore of Nikou’s work. Nikou has developed a body of sculptures that synthesise various language structures, using neon signage with symbolic poetry. These works are intended to not only function as expressive channels but also to facilitate a dynamic exchange of experiential knowledge grounded in personal observation and the expressive and affective use of language.
Nikou has presented annual solo shows at Darren Knight Gallery, Sydney and Greenaway Art Gallery, Adelaide and has participated in numerous exhibitions nationally and internationally, including solo exhibition a e i o u at Heide Museum of Modern Art in 2016.
More of Michelle's work here.
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 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 (Queensland)
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’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 (South Australia)
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 & 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 (Sharon Goodwin & Irene 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
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)
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 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.
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.
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.
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.
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 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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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
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.
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.
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.
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 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
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.
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’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
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.
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
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’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 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 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 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.
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, 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 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’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 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.
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 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 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 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 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.