Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.
The Mill is thrilled to open our 2022 Visual Arts program with the CHARTS prize exhibition, a celebration of the inaugural Community Housing Arts Awards, South Australia. Created to celebrate and showcase the creative diversity, and depth of talent within tenants of community and social housing, the exhibition features painting, sculpture, photography, digital art and writing.
The CHARTS exhibition will feature a curated selection of work by finalists, on display to the public in The Mill’s two galleries. The prize received 170 submissions across eight Community Housing Providers, with artworks from established, mid-career and emerging artists, and those who have never picked up a paintbrush, pencil or camera in their life! The CHART awards night was held at Adelaide Town Hall on 11 November 2021, with each winner receiving a cash prize of $500 made possible by the generous donation from CHARTS major sponsors Harvey Norman Commercial and Electrolux.
Artists include Lily Abbott, Alissa, Rex Stuart Anderson, Leagh Bassham, Karen Beale, Sabrina Belfiore, Naomi Blake, Maxine Cannon, Annette Cassano, Annette Chand, Susan Cocks, Belinda Cole, Craig Finnis, Annie Fox, Lloyd Jackson, Caitlin Lenartowicz, Amanda MacLeod, Robert Martin, Chevon McKenzie, Amber Jayne Mills, Rosemary Milton, Anna Mohammadkarimi, Peter Pasfield, Jhalakman Rai, Elaine Roberts, Joy Sadauskas, Yonah Singira, Drew Sinton, Frankie Starling, Coral Strempel, Zachary Studley and Leonard Yarnold.
CHARTS is a joint project between seven different Community Housing Providers. It was established in 2020 to celebrate and showcase the art being made by tenants of community and social housing. CHARTS aims to provide opportunities for artists living in community housing to exhibit their work, build their skills and establish networks. It seeks to encourage them to keep making and to legitimise their practice, or be the point from which they launch their own art career. The works in this exhibition are all the finalists, as chosen by our independent panel of practicing artists who judged the CHARTS awards for us.
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost:Free
Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibilitypage.
The Mill welcomes emerging artist Frances Cohen and their new exhibition The Many Faces of Frances, curated by emerging curator Christina Lauren.
Drawing on identity politics, and underpinned by theories of the self, Frances’ portraiture explores what it is to know and to understand the complexity of one’s self. Frances uses found images alongside photographic selfies layered with thick paint and gap filler to create a textural surface where features of the portraits are obscured, slipping and displaced. The works are uncanny, evocative and emotional, conveying a sense of uncertainty and heaviness while also appealing to the empathetic recognition of the viewer, eliciting the question who is this portrait of, could it be me?
Frances and curator Christina Lauren have worked together to present this exhibition which invites audiences to consider conceptual underpinnings alongside Frances’ use of material and process. Within this, they have generously opened a discussion around mental illness, and in particular Borderline Personality Disorder, which Frances speaks about from a personal perspective.
It’s hardly a ground-breaking revelation to say that all of us comprise a pastiche of everyone we’ve ever met. It is a well-known cliché that we are shaped by those around us, moulded through interactions with others that inform our worldview and our tastes. What is generally implied by this notion is that we have one overarching sense of who we are, with certain aspects of our personality being in flux as we move through life and have different experiences. I have always struggled to hold down my sense of self. I feel like I have been many different people to many different people; a different character tailored to each new audience member, worn like a mask. With that said, basic empathy also affords us the knowledge that each of us has their own mask; a face they present to the world that has been forged from a lifetime of hurt feelings and awkward encounters. I just seem to have accumulated a lot of them. Every character I’ve played has their own mask, forged through different lifetimes of impulsivity and self-destruction. Often it feels like I am wearing multiple at once; like I am staring out at the world around me from behind multiple numb layers of cracked plaster. Each of these paintings is a self-portrait. I am at the core of each one, hiding underneath the layers I find easier to heap upon myself, rather than deal with.
'The Many Faces of Frances' unearths a truly vulnerable series of self-portraits created Frances Cohen. The series explores Frances' warped sense of self-image, where each painting seeks to survey the idea of a constructed personality, and complex emotions. Frances' diagnosis of Borderline Personality Disorder often presents within the work as a construction of different personas, which she says 'alter my outward appearance to try and hide the gaps in my personality'.
Frances’ portraits resonate deeply with the viewer through a balance of familiarity and alienness. The viewer recognises themselves in the self-portraits through universal feelings of sadness, numbness, anger and a sense of being lost. Frances' ability to capture sadness, particularly within the eyes of each portrait, is a stand-out feature. Where most painters use the eyes to promote connection and recognition, Frances paints exclusively around them. This provides a novel view, almost reversing the mirror of the portrait and asking the viewer to look outwards rather than within. What image do they project? What mask do they paint on top, to hide their painful depth?
Portraiture has long provided a relationship between ones-self and the subject, allowing for reassurance of some of our most difficult feelings. In a time of great uncertainty, it is natural to search for what it means to be human and what it means to have human experiences. The Many Faces of Frances seeks to do just this, while also fighting against the stigma of mental health, in particular Borderline Personality Disorder, which remains one of the most misunderstood diagnoses. Frances’ portraits provide insight into the disorder, challenging preconceived perceptions, and giving audiences the opportunity to recognise how emotions felt by those with Borderline Personality Disorder are not so far from their own.
Frances Cohen is a painter living and working on Kaurna Yarta. She attended the University of South Australia, where she graduated with a Bachelor of Contemporary Art in 2020 and completed her honours year in 2021. She has previously exhibited work in Two Factor Authentication (2021), A Quarter Turn Around the Sun (2020), Friends (2019) and has contributed work to UniSA’s annual Art on Campus exhibition. She has also been published in Regurgitate (2021), Non-Compliant Quarterly (2019) and numerous editions of Verse magazine.
Christina Lauren is an emerging curator and currently the Carclew Resident curator, as part of their 2021 Sharehouse program. Graduating a Bachelor of Contemporary Art in 2019, Christina implements her experience and knowledge as a visual artist into her curatorial practices, as well as allowing her passion for arts theory to guide her. She is a multi-media artist, currently working mostly in oil paint, exploring notions of the human condition and mental health. Christina has worked previously as a curator through City of Adelaide’s Emerging Curator program supported by Carclew in 2019, as well as launching a collaborative arts music project with Bad Habits Events in 2019, ‘Blossom Art Space’. Christina began her residency at Carclew in 2020, and has continued through to 2021.
Christina has participated in numerous group exhibitions, including ‘Unwearable’ at Cloister Workrooms, Kaurna Land 2017, ‘Art on Campus’ in the West Oak Hotel, Kaurna Land 2018, 'Inevitable’ in Carclew House Foyer, Kaurna Land 2019, University of South Australia’s ‘Art on Campus’, Kaurna Land, 2019 and Mindshare SA’s ‘Mindshare 2021 Exhibition’, Adelaide City Library, 2021. Christina was awarded the 2021 SALA Contemporary Curator Award for her curatorial role in ‘Refractions’ at Carclew.
Image: Frances Cohen, Core Memory, 2020, mixed media on MDF, 46cm x 60cm Photo: courtesy of the artist
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost:$10 with a drink on arrival
Disability access is available via our Angas St entrance, and a disability toilet is also available. View our accessibility informationpage.
The Mill welcomes Yankunytjatjara woman, multi-disciplinary artist Lilla Berry as our second Collaboration & Mentorship artist in resident (CaM-Res), supported by City of Adelaide. Lilla has created this work through development time in The Mill’s Breakout space, mentorship with The Mill’s artistic team and the opportunity to collaborate with photographer Morgan Sette. Lilla’s exhibition celebrates her relationships with her community, through practicing dance, footy, weaving and the act of coming together. She has also collaborated with strong women, including Pearl Berry, Iteka Ukarla, Carly Tarkari Dodd, Mali Isabel, Amber Ahang and Kirsty Williams.
The arts have always been embedded into my life. My family is made up of musicians and visual artists, and practicing art was something I just did when I was younger. Although using my body seemed to be one of the things I enjoyed most, whether that was dancing or acrobatics. As I got older and more influenced by others around me, the inherent idea that I was an artist shifted and changed. My practice moved towards a dance focus, as this was what I had the greatest opportunity to practice. However, as I’ve continued to develop as an arts worker, I’ve been able to tap into the other areas of my practice and continue to develop my skills across a range of mediums, and now have the confidence to articulate myself as a multi-disciplinary artist. Even if each discipline doesn’t get the same amount of my attention, they are equally as important and rewarding for me to practice.
I’m extremely excited for the opportunity to give these mediums more attention through my residency and exhibition. I will be working through painting, weaving, video and photography, as well movement, to explore the themes of the exhibition. My development as a curator will also be explored, as I not only curate my own works, but also those of other artists I will collaborate with.
STRNG WMN. will explore what it means to be strong Aboriginal women. Including culturally, physically and mentally. I have always been surrounded by strong women growing up. I was raised by a single mother, and as an athlete all of my team mates were strong women, being strong role models. And growing up watching other young Aboriginal woman dancing with Kurruru, I was so inspired by their strength in culture.
Through the facilitation of women’s circles, I will take the lived experiences of other women to inform movement to be captured on film, still images and installation. I want to capture the authentic voices of our community, and explore all the ways we as women find strength, as it comes in all different types of forms.
Lilla Berry is a Yankunytjatjara woman, multi-disciplinary artist, arts worker and producer. Lilla began her arts career at Carclew in 2014, and completed a secondment part time role with Country Arts South Australia as the Aboriginal Programs Associate Producer in 2018, and has contributed to a wide range of exciting programming.
In 2017, Lilla formed the Aboriginal cultural contemporary dance company Of Desert and Sea, alongside her fellow dance ensemble members. Of Desert and Sea explores themes relevant to the 5 Aboriginal women who make up the company. They have had
performances and workshops at places such WOMADelaide, Art Gallery of South Australia, Dance Rites at the Sydney Opera House, and their debut show Beautiful, presented in Tarnanthi, November 2019. Beautiful’s second season at Adelaide Fringe 2020 also received the Emerging Artist Award. In 2019 she received her first screen credit, producing Sansbury Sisters as part of the Deadly Family Portraits Initiative with South Australian Film Corp and ABC iView.
Lilla’s practice as an artist is multi-disciplinary, as she explores mediums including dance, weaving, painting, video and photography. Her artworks are representation of her own lived experiences, and those of her community.
Yankunytjatjara woman, multi-disciplinary artist Lilla Berry
Where: The Mill Showcase, 154 Angas St, Kaurna Yarta
Cost: Free
Disability access is available via our Angas St entrance, and a disability toilet is also available. View our accessibility informationpage.
The Mill Showcase is a gallery spacededicated to artists who work in our studio spaces at our Angas Street location, exhibiting some of the artworks and products that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
This Sixth edition of The Mill Showcase features work by Eleanor Green, Elana Photakis and Lisa Penney AKA Hey Reflect’o
About the artists:
Eleanor Green is an emerging artist based in Adelaide. Her passion for painting started at a young age, inspired by her love of animals and nature. As Illustrations by Eleanor, she creates commissioned portraits of dogs, cats, and horses for clients all over the world. With each new piece, Eleanor works to capture each animal’s unique personality and spirit.
I recently moved into The Mill Studios, and for my first showcase, I wanted to bring together artists from the collective through a common theme. I’m primarily an animal portrait artist, so it was a natural choice to paint the pets of the artists I work alongside.
For my showcase, I wanted to get creative and move outside of my more traditional style. With this collection, I’ve embraced free-flowing brushwork together with vibrant colours. It’s allowed me to let loose and have fun with my art, and I can’t wait to see where it goes.
Eleanor has been working at The Mill since 2021.
Elana – Jo Photakis is a trained seamstress and artist working in clay sculpture, photography and garment design and manufacture. Elana uses art to access other worlds and transport her viewers into a poetic universe. Currently, Elana is starting up her small business Mother of Bones that involves creating ethically made clothing using plant dyes.
My work is inspired by colour and texture in nature, ideas of fantasy, folklore, and mythology. These sculptures were made during a time of personal growth and are a physical manifestation of what a woman requires to reconnect with her inner psyche after being dormant.
Elana has been working at The Mill since 2020
Lisa Penney’s brandHey Reflect’owas created to answer the needs of cyclists for something fashionable, visible, and ethical to wear on the road. Lisa was sick of rolling up to trendy bars in an awesome outfit covered by an oversized tradie vest. She set out to design high visibility reflective vests that not only compliment outfits but also make you feel great. Hey Reflect’o vests are designed by Lisa and made here in Adelaide from sustainable materials.
Hey Reflect’o cycling gear is fashionable, breathable, durable and eye-catching. Adorned with Funky Reflect’o and fluro geometric patterns these vests make you stand out day and night. It’s high visibility meets high fashion.
‘Crafting change’ studio: Saturday, July 24, 1-5pm
The Mill welcomes The Centre of Democracy to present Stitch and Resist, an exhibition of contemporary craftivism. Bringing together 140 works by activists from all around the world, this project is an example of the agency of communities working with a shared goal. Each individual stitch comes together to create collective meaning that is multi layered, complex and gestalt. The artists exhibited as part of Stitch and Resist do not necessarily see themselves as artists, and perhaps didn’t think of themselves as activists either. The works are both political in their messaging, and in their creation, allowing individuals to create statements that are personally meaningful from within their own homes or as part of community group.
We hope that visitors will be inspired by what you see in the gallery, and encourage you to consider your own politics and values in relation to the works on display. We also invite you to join local craftivists for a special public program Crafting Change on Saturday July 24 where you can hear from Stitch and Resist artists, purchase a cross stitch kit, create a Stitch and Resist themed badge and listen to protest music with Dan Monceaux AKA DJ Sepia.
This exhibition is the culmination of a year long project of the same name, in which the Centre of Democracy engaged with community organisations and groups, as well as with the general public, to discuss, and create works addressing a range of contemporary issues.
Stitch & Resist showcases craftivist pieces that vary in terms of skill level and artistic merit. Their significance lies less in these values than in the political work they do, the contribution they make to social change. Pieces that appear in the exhibition have been created in English, Arabic, and indigenous languages, and many address diversity, inclusion and equality. As well as functioning as vehicles for addressing contemporary social issues, the works demonstrate the fact that everyone can be involved in craftivism. Over 140 works have been produced by a large number of individuals, community groups, and partner organisations from across South Australia, Australia, and internationally.
The Centre of Democracy is a collaboration between the History Trust of South Australia and the State Library of South Australia. It showcases the people, ideas and movements that have shaped, and continue to shape, democracy in South Australia. Featuring treasures from the state’s collections, the gallery contents challenge visitors to think again about people and power.
Nikki Sullivan is Manager of the Centre of Democracy, a collaboration between the History Trust of South Australia and the State Library of South Australia.
Britt Burton is the Public Programs Coordinator for the History Trust of South Australia and the Centre of Democracy.
Where: The Exhibition Space, The Mill, 154 Angas Street
Cost: Free
Join us for the launch of Holly’s exhibition Reality Winner, the outcome of work produced during her sponsored studio residency at The Mill. Reality Winner opens alongside Stitch and Resist on Friday July 2, followed by an artist talk with Holly in conversation with The Mill’s Visual Arts Curator Adele Sliuzas date now TBC in July.
Language falls asleep in dreams. Reality Winner is the name of an NSA contractor convicted under the Espionage Act for leaking a report about Russian interference in the 2016 US election. Salvador Dali was kicked out of the surrealist movement for being too surreal. Post-rational author and consultant Venkatesh Rao defines “surreal” as “underflowing with life”, as in, there isn’t enough life force to go around, but “underflowing” also has a specific meaning in computation when a value is smaller than a computer can compute. Venkatesh: "Dreams *are* an underflowing-with-life state since they occur in sleeping bodies capable of much higher flows when awake". This exhibition contains materials derived and reworked from exhibitions, performances and collaborations that I contributed to but that I could not attend "in real life" due to the pandemic and associated travel bans.
Holly Childs is a writer and artist. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. In 2020, she was an associate artist at Jacuzzi dance space, Amsterdam; and alongside Gediminas Žygus she released Hydrangea (Subtext), an album exploring narrative fracture and reality bubbles. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa), and is a former Gertrude Contemporary studio holder (Melbourne), an alumna of The New Normal (Media, Architecture and Design) programme at Strelka Institute, Moscow, and she holds a Masters in Film, Design and Politics from Sandberg Instituut, Amsterdam. She has been in residence at Arcadia Missa (London), RM (Auckland), Firstdraft (Sydney), Rupert (Vilnius), and DAR (Druskininkai). She is currently writing her third book, What Causes Flowers Not to Bloom?; teaching in the Graphic Design department at Rietveld Academie, Amsterdam; and developing Cliffhanger, a text, installation, and choreographic collaboration with Angela Goh.
The Mill Showcase is an exhibition series dedicated to artists who work in The Mill’s studio spaces on Angas Street, Adelaide. The exhibition includes artworks and products that have been produced under our roof by incredible artisans. This touring edition of The Mill Showcase brings a selection of our artists to McLaren Vale, so that we can share their practice with you!
This edition of The Mill Showcase features work by Blake Canham-Bennett, Steel Chronis, Amber Cronin, Andrew Eden, Matea Gluscevic, Evie Hassiotis, Yana Lehey, Kirsty Martinsen and Kate O’Callaghan, curated by Adele Sliuzas
The Mill is excited to present Complexities, a solo exhibition by artist Thomas Readett. This new body of work uses self-portraiture as a medium for exploring the complexities of contemporary life. Thomas’ self-exploration and personal narratives become opportunities to reflect the wider world, through themes of love, loss, and grief.
Taking inspiration from the Rubik’s cube, Thomas sets the scene of a ‘thinking game’, asking viewers to consider a multi-layered reading of his works. Complexities and connections can be found throughout, with audiences able to bring personal interpretation to their journey through the exhibition environment. Rather than self-portraiture being self-focused, Readett speaks of empathetic connection and creative interpretation of the challenges of 21st century life.
Thomas’ graphic aesthetic is powerfully rendered in black and white, with careful attention to detail. He melds street art style with classical training to produce work that is technical and conceptual. In Complexities he pushes his practice into 3D sculptural space, playing with the pictorial plane and interrupting our usual modes of interpretation. The Rubik’s cube gives us an opportunity to see portraits in flux, opening up the medium (and meaning) to change.
Perception is a fundamental trait of the creative mind. It allows us to interpret ideas differently to others, bring fresh ideas but also brings a different set of mental and social processes. These processes mean that we have deep and empathetic connections to people and the world around us.
Complexities explores how convoluted the creative mind can be. In this abstracted self-portrait body of work I reflect on the importance of self-expression and how overwhelming the world, life and relationships can be without it. In the world’s current climate all aspects of life have been more challenging than usual, using a form of self-expression has never been more important and, for me, it has become compulsory.
My love of video games and thinking games has driven the development of these works, using these games as a conduit to describe the complexities of connection and reflection. Using a small and technical object known as the Rubik's cube as the starting point, the original thinking game. My Rubik’s cube speaks to the pixel like painted snapshots on the walls and creates an environment to explore and contemplate life, connection, and love.
Thomas Readett is a Ngarrindjeri man and established artist from Adelaide, South Australia. He is currently working as Tarnanthi Education Officer at the Art Gallery of South Australia part-time alongside his art practice.
Thomas has been a drawer his entire life ever since he was a child, wanting to further his career as a professional artist he enrolled into Adelaide Central School of Art in 2011, and it was then he began painting. This is now his main practice among others. Thomas graduated his study at Adelaide Central School of Art completing his Associate Degree and Bachelor of Visual Arts Degree (BVA) in 2015. During his time at Adelaide Central School of Art he held group shows with fellow graduates and ended the degree with his final body of video work based around ideas of solitude and a personal journey through his identity.
Thomas has since exhibited solo exhibitions Beneath the Skin, Dark Light and latest body of work From Within, which was completed through the University SA and Country Health SA Artist in Residency program. He is a huge advocate for raising mental health awareness and most of his current concepts enforce this. Thomas has recently been working on large scale public art murals across South Australia both solo and collaboratively in events such as Wonderwalls, Big Picture Fest and other large-scale commissions.
For SALA festival 2021 The Mill presents Biophilia: Call of the Wild, a group exhibition and public program featuring designers exploring connection to nature within built environments
Biophilia: Call of the Wild is a group exhibition that explores our innate human desire to be connected with the living world. Biophilia, from Greek translates as ‘the love of living things’, which Exhibition Curator and maker/designer Robyn Wood has used as a conceptual starting point. At its core is the principle to connect humans with nature and as a result improve wellbeing. In our urban setting we yearn to connect to the natural environment.
Held in The Mill’s Exhibition space, Robyn has brought together South Australian designers Enoki, Caren Elliss, Jake Shaw, Peter Walker, Sally Wickes, whose works connect humans with nature. These designers demonstrate a variety of thinking and approaches from within their contemporary creative practices. They express their ideas through sculpture, furniture, interior installation and experiences. The exhibition includes diverse materials, process and concepts, experiences evoking space and place (prospect, refuge, mystery and risk); natural elements-water: greenery and natural light; use of materials, textures and patterns; and botanical shapes and forms.
A symposium will be held at The Mill alongside the exhibition and will feature a line up of Adelaide Creative thinkers, furniture designers, writers, architects, artists and environmentalists exploring a range of topics around Biophilic design. Exploring themes of art, contemporary design, the need for nature in our human environment, well being, sustainable practices and science that intersect with the topic of Biophilia.
Presented with partners The Design Institute of Australia, Adelaide Sustainable Building Network and with support from City of Adelaide,Gilchrist Connell, Bank SA Foundation, and Arts SA
About the artists:
In considering this project I have looked at the repeated forms that occur in nature. The gentle undulations of sand along the shoreline, the ridge formations in cockle shells and the lapping of waves against the shore.
Describing herself as a designer/maker Caren Elliss is known for producing thoughtful, original furniture and lighting. Caren has a Bachelor of Industrial Design (Honors) and Master of Sustainable Design from University of South Australia. She undertook a four-month Industrial Design internship at AirDesign, Mexico and completed the Associate Program at JamFactory.
Caren has worked with Koskela, Estilo Commercial and Woodmark, and from 2016 -2018 was a Studio Educator in Product Design and a Workshop Instructor at the School of Art, Architecture and Design, University of South Australia.
Traces by Enoki is a cocooning interactive sculpture that will transport the viewer on a short journey to a place of sensory immersion. The installation will include experiential offerings of sights, sounds, smells and textures from the 5 artists personal memories and associations with nature to evoke emotional connections with the participant. Traces is the collaborative work of Susanna Bilardo, Cindy Chay, Amber Lewis, Ash McCammon and Jacky Spencer.
Enoki is a multidisciplinary design practice, we design our projects to work well now and in the future. We endeavour to enhance the experience of those that use, live with, or live in our projects. Every project, no matter how small, is explored, reworked and given complete attention, until a unique and inspiring design solution is achieved.
We endeavour to share, experiment, learn and remain open to changing direction throughout the design process. We choose to include each other and our clients in our thinking. We take responsibility in touching the earth as lightly as possible. We embrace and incorporate sustainable practices in our projects.
Jake Shaw's 'Forager’s Chair' is made from 100% Tasmanian Reishi mushroom mycelium and the hardwood timber on which it natively grows. The work reads as a resolved piece of furniture, but in actuality does not significantly deviate from the process of the mushroom growing in the wild. By emulating the natural conditions and environment of the mycelium, the work strives to be demonstrative of harmony between maker and material.
Jake graduated from the University of South Australia in 2019 with a Bachelor in Interior Architecture.With his background in interior design, Jake Shaw's work looks at the relationship between the built environment and human experience. Primarily composed of grown mushroom mycelium furniture and sculpture, his practice is led by explorations of new and sustainable materials, phenomenology, design as art, public art, and spatial experiences. His work seeks to challenge the idea that organic materials and textures are somehow unrefined in design and to pursue material subtlety with discipline and restraint.
In the bush, a branch, a rock, a log, can spontaneously become a place to rest and impromptu furniture. Perching is a series of objects that combine naturally formed branches with machined timber to provide support for the body.
Whether resting while standing, sitting or lying down, the body and Perching form a symbiotic relationship. This tactile experience elicits a connection with the natural world, encouraging reflection on the nature of wood and its origins.
Peters practice encompasses a range of activities utilizing wood including sculpture, surfboards and furniture. Peter gained a BFA in 1986 and an MFA Degree from the School of Art, University of Tasmania, Australia in 1993. He ran his own studio for 14 years in Tasmania, moving to Adelaide to Head the Furniture Design Studio at the JamFactory Craft and Design Center in the late 90’s. Peter has worked as Design Consultant for Chiswell Furniture, Designer Makers Tasmania Cooperative 1985, Co-Director of the 1991 Hobart Design Triennial and a partner of Dezco Furniture LLC. He is currently Program Director, Master of Design, School of Art, Architecture & Design. Prior to this Peter was Associate Professor at the Rhode Island School of Design USA, 2001-2011.
His work is represented in public and private collections, including the Australian Parliament House, Canberra and the RISD Museum, USA. Peter exhibits work regularly across Australia, Europe and USA.
The Kaurna name for Carriageway park (Park 17) is Tuthangga meaning “grass place”. Native grasses have miraculously survived in our Park lands and provide refuge for the rare grassland copper butterfly. This grass is the inspiration for this installation. The sun shines down on these precious strands of grass forming elongated shadows that stretch and move.
Grassplace installation is a series of slender panels that both define space and create a delicate sculptural backdrop. The screen design is a repeat pattern of strands gently curved reflecting grass gently moving in the breeze. Designed to make use of resources close to home it is made from steam bent Australian timber with a variety of natural coloured stains applied. Grassplace provides both prospect and refuge. We are protected and comforted by a place to hide but can peak through the open strands to seek a view. We are connected to our unique natural landscape by bringing these forms inside.
Robyn Wood is a South Australian designer working in a diverse range of disciplines from Furniture design, sculpture, installation and product. Maintaining a connection to nature in a contemporary context is important in her creative practise.
Robyn studied and practiced as a teacher before following her passion for design and returning to study as a designer. She has a Bachelor of Design Interior Design from the University of South Australia. In 2014 she established her studio working on furniture and interior installations.
She has worked on a wide range of international and local commercial and government interior projects, private furniture commissions, exhibition pieces and small production runs. Being hands on in her joinery work and experimenting with other media continue to be important in developing new work.
The ambience created by light filtered through foliage has a measurable influence on humans. Whether it revives awareness of our interconnection with the natural world or sense of shelter and sustenance, its impact is created as much through shadow as light. green.light draws on the visual experience of plants and light in concert.
Sally Wickes is a sculptor, visual artist and industrial designer interested in exploring traditional, new and existing materials to create artworks.
Sally holds a degree in Visual Art (Sculpture) and a Graduate Diploma in Design (Industrial Design). She has also created permanent public artworks for several councils; received Arts SA and Helpmann Academy grants to undertake marble carving tuition in Pietrasanta, Italy; and has been awarded several prizes for sculptural work including in the Waterhouse Art Prize.
Visually, Sally's works are diverse as they are enriched by individual concepts and stories. She is inspired by nature and in turn hopes to inspire feelings of oneness and belonging, leading to acceptance of responsibilities that come with being part of a greater whole.
This exhibition is a finalist in the City Of Onkaparinga Contemporary Curator Award
The Mill welcomes Ruby Chew, the painter and Ida Sophia, the performance artist for a bold new collaborative exhibition, which transforms The Exhibition Space into a site for exploration, interpretation and multidisciplinary practice.
‘What happens when a Painter (Ruby Chew) and a Performance Artist (Ida Sophia) assemble for a period of 4 weeks to make work based on the methodologies, materials and processes of the other’s?’
Ruby and Ida invite audiences into the gallery to watch as their work develops over the first four weeks of the exhibition. Working within a process driven structure outlined in a joint manifesto, both artists will be bringing their own understanding of artistic practice, and a willingness to extend into new zones. While present in the gallery over the first period of the exhibition, the artists will be responding to weekly provocations traded in sealed envelopes. The final two weeks will remain as a static exhibition for audiences to view the work produced during the first period.
Our objective is to subvert the normal system of an exhibition; how it is prepared, presented and received. Through this we will develop new theoretical underpinnings for our practices, birthed through process. The process is the exhibition.
We will respond to the materials, methods and processes from each other, and build from the foundation of our own practices. Envelopes containing instructions, provocations, methodological considerations and processes will be traded between us weekly. These directives will dictate the work that we make. We anticipate an exchange that is challenging and fruitful, producing work that pushes the edges of our practices into fresh territory.
Adherence to a co-written manifesto, written specifically for this system intervention, provides us with artistic constrictions, intentions and declarations. This includes a list of materials; 5 from Ruby’s practice, 5 from Ida’s and each a meaningful object to work from.
We invite you into this experimental exhibition where you can view work and engage in a participatory capacity. This is a purposefully fluid space, you will encounter all stages of artistic output. Consequently, the gallery will morph and transform weekly, we encourage you to return and witness the space as it evolves.
Ruby Chew is a painter who employs process-based making techniques to create open dialogues with her viewers whilst exploring the fluidity of pictorial space. Completing a BA Visual Arts Hons. at Adelaide Central School of Art (2010), along with further study at Central Saint Martins, London and the Florence Academy of Art, Florence, Ruby’s practice is deeply rooted in traditional painting techniques, which are the foundation of her practice.
Ruby is a Ruth Tuck Scholarship recipient (2015) and has exhibited, taught and held residency positions interstate and overseas. She has had numerous solo exhibitions, notably ‘Portraits’ at Magazine Gallery (2011), ’Spitting Image’ at Hill Smith Gallery (2012) and ‘The Difference Between Things’ at Floating Goose Studios (2021).
Her artworks are in public and private collections across Australia, Canada, Malaysia and London. She currently lives and works in Adelaide, South Australia.
Ida Sophia’s live art participatory performance, sculpture, installation and sound practice investigates how to approach loss in modern, secular life. Looking to facilitate our need for ritual, contemplation and completion, her works intend to slow down the dilution of ceremony.
2020 has seen Ida further develop her practice in durational performance through training with international artists Vest&Page, performances at The Venice International Performance Art Week Co-Creation Live Factory: Dissenting Bodies Marking Time. Her next durational performance will be at Floating Goose, spanning the month of June 2020. Ida Sophia has been mentored by a range of performance artists and curators, among them Joseph Morgan Schofield (Artist/co-ordinator of the Live Art Development Agency, UK), La Pocha Nostra (Artist Guillermo Gomez-Peña, Voin de Voin (Artist/Curator, Æther, Sofia) providing critical advice for her practise and development of participatory encounters.
In 2019, Ida held her first international solo exhibition at Æther Art Space in Sofia, Bulgaria, following her participation in the World of CO Artist Residency (Sofia, 2018). Ida has participated in the ‘Cleaning The House’ workshop with the Marina Abramovic Institute and exhibited in multiple group shows locally and internationally since 2017.
The Mill Showcase is a gallery spacededicated to artists who work in our studio spaces at our Angas Street location, exhibiting some of the artworks and products that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
This fifth edition of The Mill Showcase features work by Sandy Kumnick, Kate O’Callaghan and design studio Small Room.
About the artists:
Sandy Kumnick is an experimental multidisciplinary environmental artist. Following Media Studies at Uni SA, Sandy’s Video Art productions were shown at Adelaide Festival Centre and Media Resource Centre. Since completing a Visual Art and Design degree at Adelaide College of the Arts in 2012, Sandy has exhibited paintings, drawings and sculptures at galleries in China, Adelaide, Goolwa, and undertaken an Artist Residency at Sauerbier House, Port Noarlunga.
My work leads me as I create, with no intent of final outcome when choosing colours, making gestural marks or tossing dried kelp onto paper. It is humbling, meditative and enriching. I often incorporate found objects from the natural world as pure aesthetics and for thier significance, such as how Nature’s spiral pattern represents beginnings, resilience and eternity. I pay respect to the First Nation people and their connections with the natural materials used in my exhibits
Kate O’Callaghan graduated with Honours from the National Art School in 2004 majoring in Ceramics, where she won the graduate prize for her unique vessel designs. Her writing about South Korean Ceramics has been published in The Journal of Australian Ceramics. Kate is the Founder and Director of Artful, a company focused on teaching the benefits of clay to people of all ages.
I am completely drawn to throwing clay on the wheel, along with teaching as many people who are as equally excited by the possibility inherent in working with clay.
Small Room is the ongoing creative project of Lachlan Stewart, Angus Plunkett & Rafal Liszewski. Lachlan, Angus and Rafal have been working together since 2013. Graphic design was a gateway and framework for the creative practice they have developed. Small room has taken many forms since its conception and is currently exploring work through screen printing, illustration, painting, installation, photography, web and graphic design.
We have created an installation which displays work from the past two years. This installation which houses our work is a glimpse into the creative environment Small Room like to operate in. Taking inspiration from many zones and internet holes we get caught in, linked with a hindsight view of our childhoods and working experiences. We use our creativity as a way to express and process the world. Informed by y2k tech aesthetics, metalheart/depthcore, consumer culture, minimalist furniture, international style design and brutalism.
The Mill is excited to present Life Maps, an exhibition by multidisciplinary artist Jingwei Bu. This series of drawings are both the artworks itself and a document of performative action. Jingwei speaks of her process as intuitive action, where she uses techniques of focus and meditation to translate emotion and memory onto the paper.
Formally, the works have a simple palate and are constructed of a handful of stylised gestures- repeated lines, shading, sequenced numbers and spirals. Each drawing is created in one sitting, which lasts several hours, drawing from the genre of time based performance. They are built through an intricate and layered mark making process, where Jingwei moves about the page purposefully. Meaning shifts as earlier marks are covered, or extended over. Abstraction allows Jingwei to express deeply personal and emotional experiences through movement in a way that allows audiences to engage their own curiosity, their own mental performance of map-making. The exhibition also includes a performance by Jingwei, extending her Life Maps into live action in the gallery space.
My Life Maps drawings are a performative movement of the hands. The marks, numbers and lines carry the intuitive motion performed on the paper. The endurance of the movement uses the paper as a stage and as a boundary for action. The results of the performances are either purely intuitive or an action for a reflection on a life event. The repetition of motion is like meditation and ritual. The repetition is never the same.
The freedom of movement is paralleled by the process of creating space among lines, forms, and marks that resonate the actions of navigating distance and space among people. The longer the movement, the deeper I can go into the subconscious of emotion and memory accumulated in the life journey. To reach, to fix, to answer the questions locked.
Each mark has its character to me, together they are telling complex stories. This exhibition shows the old Life Maps from the previous years and the recent ones since my mother’s passing two years ago. The making of new life maps has helped me get through the grieving and to gradually heal.
Jingwei Bu is an art student from Adelaide Central School of Art, graduating with her associate bachelor degree of art in 2020. Jingwei’s practice draws on Buddhist Chan/Zen teachings. She references both Western and Eastern cultural and artistic traditions in duration-based works on paper titled Life Maps. In creating them Jingwei utilises the principles of a mindfulness meditation, committing to a length of time engaging memory, experience and reflection to document her life’s journey using mark-making.
She is passionate about sharing this creative process with others and credits the cathartic artmaking process as possessing positive and even therapeutic benefits, citing an emphasis on acceptance and the ability to transform negative thoughts and feelings through creativity.
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost:Free
Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibilitypage.
Join us for the launch of Hussain’s exhibition In search of a good laugh, the outcome of work produced during his sponsored studio residency at The Mill. In Search of a good laugh opens alongside The Many Faces of Frances on Friday, November 26. Hussain will also present an artist talk in conversation with The Mill’s Visual Arts Curator Adele Sliuzas in November.
As much as identity defines who we are, our culture and morals; it is always a challenge to prevent misconception, misrepresentation and misjudgment. This challenge and other issues like belonging, individualism, autonomy, gender tension make no identity idle. Through In search of a good laugh I explore the possibilities of identity within a Saudi/Middle Eastern and Australian context.
Over the past few years, I have been working with the significant visual elements that represent Arab people, creating an abstract visual catalogue of identity. The artworks suggest the colourful shapes and patterns that speak truly about Arabic diversity and culture.
The title of the exhibition is inspired by an interview I recently watched where visitors to an art exhibition were asked: ‘What you are looking for in this exhibition?’ One visitor answered ‘I don’t know! Maybe a good laugh!’ This answer struck me, and took me back to ten years ago when I worked as a cartoonist at KFUPM newspaper (a university publication in Saudi Arabia), where my art work attempted to generate laughter about the hardest issues faced by students. Since then, my work has shifted to become more abstracted and conceptual, however, I believe laughter is a worthwhile pursuit. This exhibition may not be overtly comedic, but I would like to invite audiences to consider the work through a lens where it can be both serious, conceptual and parodical.
In constant flirting with meaning and medium; Saudi visual artist Hussain Alismail focuses on the pleated part of Saudi society in his work. Coming from the marginal community of Shia in the Eastern providence, he was constrained to examining a rich perspective of social interactions and discourses. Alismail draws inspiration from direct/indirect communications, experiences and history to tell stories about our culture.
He holds BFA in drawing & painting from OCAD U with an emphasis on illustration and social science. He is currently in the final year of visual effects and entertainment design studies (VEED) at Flinders University. Alismail exhibits both nationally and internationally, most recently presenting work in his third solo show Frilly at Argo on the parade in Adelaide. In 2020, he was one of the recipients of Maan grant from Athr gallery and one of the participants of the inaugural Albalad residency by Saudi Arabia Ministry of Culture. He was awarded in many competitions including Alkassbi International Award II (2015) and MCY by Edge of Arabia (2011).
This exhibition celebrates 10 years of collaboration between renowned photographer Chris Herzfeld and dancer Erin Fowler. Creative collaborations such as these are immensely valuable to artists practice, and Chris and Erin have shown how strong creative relationship can grow and develop over time. Both have spent the past 10 years becoming attuned to each other’s practice, and are able to work intuitively as well as push each other to grow. In this series of portraits we see Erin’s incredible skill as a dancer and model showcased by Chris’ photography. Both have also made significant contributions to The Mill, Erin as Co-Founder and Chris as a long term supporter and contributor to our programming. Through this series of images we celebrate their collaboration, and also thank them for their continued contribution to the Adelaide creative sector!
CHRIS : I’ve been really fortunate over the last 17 years to have collaborated with some fantastic dancers and artists on some really special projects. But it’s always super special when you reach a big milestone as I have done in 2020 with Erin Fowler. 10 years ago we started helping each other out on projects and over the years our relationship has morphed into fully collaborating in setting up and executing projects together.
Ok, maybe there been a few cakes eaten along the way as well to satisfy the 3pm sugar craving but it’s been an incredible, thoroughly rewarding & enjoyable journey working with Erin over the last 10 years. We’ve created a diverse range of projects over that time with memorable outcomes. A massive thanks to Erin, Kyra and all of those we’ve dragged into our vortex over the years.
ERIN : Chris, Kyra and I have been working together on dance photography collaborations since 2010. Together we have developed an attuned and creative approach to creating shots. Both Chris and I enjoy working relatively quickly and intuitively and I think that this approach results in very alive and energised shots.
At the beginning of 2020 Chris, Kyra and I decided that we would create 10 new projects for our 10th year of working together. These projects range from dance to fashion, as promotional shoots for dance projects and lots in between. We’ve shot in the studio & on location, here in South Australia and around the world. This exhibition is a small sample of the 20+ collections we have created together.
Established in 2003 by Chris Herzfeld, Camlight Productions is a unique business that provides photography, cinematography and lighting services. Chris works extensively in the arts and in particular throughout the Australian dance industry as a photographer & a cinematographer.
Chris’s images are a fusion of fashion and dance. Drawing on the distinctive range of movement and shapes of dance in combination with the more traditional modelling poses, the image embodies a sense of drama, poise and style. This unique style creates images that have a sense of narrative within them. Chris likes to leave it to the viewer to use their imagination to create that story. In a world where digital manipulation and compositing are commonplace in photography Chris's approach is more classical, with an emphasis on lighting, colours and composition with the look of minimal post production processing. His images take on a 3D appearance so the viewer feels as if they are present in the location watching the action happen before their eyes.
Erin Fowler is an Australian artist working across the dance, theatre, music and film industries. She creates and presents deeply feminine, audience driven, socially minded work. Erin is a multi-faceted performer that blends together an eclectic mix of contemporary dance, theatre, music, clowning and martial arts. Erin’s choreographic credits includes FEMME, (2019 Adelaide Fringe - Best Dance Award. 2020 Adelaide Fringe – Made in Adelaide award), and toured to Reykjavik, Edinburgh & Stockholm. Other works include Gen- y (2018) commissioned for the Adelaide Dance Festival; Epoch (2016) created on Australian Dance Theatre for their Ignition season; and the dance film, Gaia (2014), which has currently screened in over 23 international film festivals.
Erin is a qualified Qoya teacher (a holistic movement practice for women) as well as a facilitator of women’s circles and women’s embodiment practices. Through her new NFO company The Gaia Movement, she is currently working with a number of international schools and partner organisations to develop a school education program and community engagement strategy bason on Gaia.
Opening event: Friday, January 22, 5:30pm to 7:30pm
The Mill Showcase is a gallery spacededicated to artists who work in our studio spaces at our Angas Street location, exhibiting some of the artworks and products that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
This fourth edition of The Mill Showcase features work by Kirsty Martinsen, Steel Chronis and Evie Hassiotis.
About the artists:
Steel Chronisis an emerging artist, working and living on Kaurna land, who works across various media in their practice. Their work typically focuses on the mundane and macabre with consideration of the fleeting nature of time. Their work is often a preservation of structures, subjects and moments, highlighting the beauty of the ordinary. Steel has had a studio at The Mill since 2020.
These works are a segment of my investigation into various types of inks and application styles of the medium. The parameters of this exercise were to work with a brush, gesturally and within the compositional limitations of a landscape orientation. The works presented utilise Indian Ink, an ink that can be applied in an diverse manner - either thinned out, layered or painted thickly to achieve a dramatic black. What makes this ink unique is that it is made with a shellac gum binder, giving the ink a unique brilliance and a high level of water resistance.
Evie Hassiotisis an Adelaide based artist who works intuitively with textures and mixed media, photography and improvised dance. Evie believes in the potential of art to emotionally heal the human soul and to promote spiritual growth in the art practitioner and in the viewer. Improvised movement together with her art practice have been an avenue to express spirituality, creativity and art as a healing practice. Evie has had a studio at The Mill since 2019.
These prints were nearly all created in 2020 during the social and physical restrictions enacted in response to Coronavirus. This series reflect on the metaphorical masks most of us wear every day, masks we wear to cover our true selves, whatever our reasons. These works offer an observation of human behaviour and what people choose to reveal and not to reveal to others and themselves.
Kirsty Martinsen’s practice is predominantly drawing and painting, and recently as a Writer/Director of the short documentary, Limited Surrender, with SBS and SA Film Corporation. She has a BA Visual Art from SA School of Art (UniSA) and Dip. Painting from New York Studio School of Drawing, Painting and Sculpture, has exhibited in USA, Australia and Amsterdam. Kirsty Martinsen has had a studio at The Mill since 2014.
In the middle of a pandemic I had moved into an apartment on the 11th floor, looking West. During this period of self-isolation, I began doing a daily pastel drawing of the setting sun. Every day the sky is different, sometimes the sun pops out from behind the cloud and looks like it is being born. Seeing the sunsets grouped together you can trace changes in season, and my thinking about light.
Artist talk and Fringissage: Sunday, February 21, 1pm-3pm
The Mill’s 2021 Exhibition Space program opens with Random Acts of Obsession: The Artist as the Collector, a new body of work by multidisciplinary artist Carolyn Corletto. Working with found materials, paint, clay, thread and words, Carolyn has created a personal Wunderkammer. Following her compulsion to obsessively collect, she uses discarded domestic objects and ephemeral natural objects as sites for material investigation. The objects of her collections are often found while walking through public space and parklands, then taken back to the studio to be reimagined, investigated, and imbued with memories. Carolyn’s process speaks to the affinity that she holds with her collection, as material objects but also repositories of identity and memory, ‘I respond to the call of things’ she says.
I often find myself inhabiting the liminal space between passion and obsession, where collection becomes compulsion. Discarded objects begin to speak to me of a new accumulative value. Motives for collecting or over-collecting vary and combine differently for each collector. For me the selection of an object worthy of collection is rooted in memory and biography. The fixation becomes physical with the need to hunt, to store (sometimes display) and inevitably (for me) the need to make something. My art practice is an emotional response to my experience of the landscape and the materiality of the objects I collect as I move through it. I usually find myself focussing on the smallest objects, appreciating their unique properties and design. In my mind anything can become something else through the ministrations of conceptual meditation. Connections are made between found objects and material processes as they assert their status as saved, rehabilitated or collected.
In this exhibition I have created works that are inextricable from the process itself. Expanding on my finalist work in the Parklands Art Prize I have continued my daily walk through the Parklands and other green spaces, collecting tiny specimens of natural materials or domestic debris and making a one inch wheel thrown ceramic vessel for each object. As the vessels contain my daily thoughts I have found the clay responding differently each day into a myriad of iterations. During Covid restrictions when obsession with making was able to take hold undistracted or tempered by reason I came to appreciate the sense of control these occupations afforded in times of uncertainty, the curative effect before the compulsion returns.
This exhibition embodies a response to my wanderings, my research and the interior landscape of my personal obsessions, all the while mining childhood memories of lying on the grass gazing through the tracery of trees. With deliberate energy each work offers an acutely focussed encounter and collaboration with an environment balanced between vulnerability and resilience. By bringing materials out of their habitat and into the gallery, recontextualising with a mindful counter of tension and tenderness, I confirm that my eyes are open to the urgency of fragility.
Carolyn Corletto is an emerging multidisciplinary artist working in the fields of painting, sculpture, textiles, ceramics and assemblage. Using found materials, paint, clay, thread and words she contemplates and prospects the materiality of discarded domestic objects and ephemoral natural objects as repositories of identity and memory. Since graduating with Honours from Adelaide Central School of Art she has been actively exhibiting both in South Australia and interstate including being selected by Guildhouse to exhibit her Honours work in a solo show.
The last 3 years have been highly productive for Corletto. She was a finalist in the Waterhouse Natural Science Art Prize, the Broken Hill Outback Art Prize and the Parklands Art Prize and was awarded the Wilson Wine Label Commission through the Helpmann Academy. This year she was a finalist in both the Don Dunstan Award and the Adelaide City Incubator Award during the 2020 SALA Festival. Corletto is currently working out of Collective Haunt Studios and has recently been awarded a Diderot Scholarship towards a residency in France that will be taken up after the lifting of travel restrictions.
Flatworld 64 is a new series of paintings by digital artist Danny Jarratt. Co-opting the design language of 90’s collect-a-thon video games, Danny invites audiences to step into a flattened, graphic world. He offers audiences a momentary escape from the noise of navigating heteronormative daily life. This series of bright, digital paintings are made up of gestures and painterly marks translated into a digital realm. Low-resolution & pixelated graphic shapes sit alongside digital airbrush and drop shadows, giving a sense of collapsed perspective and a non hierarchical plane of existence. Danny describes them as ‘perhaps paintings, or perhaps screenshots’ of a queer videogame landscape.
Through my heteronormative childhood, I found the media landscape of television oppressive. I was told to sit in front of the ‘idiot box’ and be a passive viewer. However, with the introduction of the Nintendo 64 and collect-a-thon video games the television transformed from passive to collaborative experience. Through role playing games my identity shifted from repressed to forever-in-flux: I could be male, female, a bear and/or a bird. As I inhabited these avatars I would explore different worlds including jungles, ruins, factories or outer space.
Within these worlds there were valuable objects to collect: Golden Jigsaws, Golden Bananas and Golden Stars. The worlds were filled with collectables and quickly the player would learn the lore of the land and develop a spatial understanding of the world and a connection to the place and self. In searching for these objects, I became connected. I feel deep attachments to Donkey Kong 64’s Jungle Japes and Super Mario 64’s Tick Tock Clock. All these spaces are queer escapes, where identity is transformative and always resistant.
This body of work portrays the world as flattened and paused, populated with unseen people, remnants of buildings and rare Ghost Diamonds. The player/audience is given reprieve from heteronormative noise and left with a peaceful queer silence; a moment in the game where everything stops. The bright colours and silence offer a zen and meditative escape. Unlike the video games which inspire them, this space does not reward the player/audience with level progression or bosses to fight. Instead you're rewarded with a better understanding of this queer environment, a search for diamonds and a queered quiet & flow.
Danny Jarratt (b. 1990 Kaurna Land, Adelaide) is an emerging queer digital artist exploring installation art. His work reflects a keen interest in the intersection of pop culture, queer theory and resistance. His installations function as micro-utopias and queer counterpublics which allow people to escape the imposing day to day ideologies and expectations, with fun and convenient methods, such as videogame design. He graduated at the University of South Australia with Bachelor of Art & Design (Honours) and recently finished a residency with George Street Studios. Jarratt’s emerging practice has exhibited locally at FELTspace, MOD., Praxis Artspace, Fontanelle Gallery and The Adelaide Festival Theatre Media Screens. He recently undertook his first interstate solo exhibition Neo Glitch City at Seventh Gallery and has international features in group exhibitions at MOM-us Experimental Center for the Arts in Greece, Dovetail Gallery in North England and was a finalist in the STARVD art prize in Singapore.
Opening event: Friday, October 30, 5:30pm to 7:30pm
Where: The Mill Showcase, 154 Angas St, Kaurna Yarta
Cost: Free
The Mill Showcase is a gallery spacededicated to artists who work in our studio spaces at our Angas Street location, exhibiting some of the artworks and products that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
This third edition of The Mill Showcase features work by Jennifer Eadie, Amber Cronin and Robyn Wood.
About the artists:
Jennifer Eadie is a writer and artist, living and working on Kaurna Yerta in South Australia. She is academic in the Aboriginal Pathway Program at UniSA, a doctoral candidate at Flinders University and a graduate of UNSW Art & Design. Her creative practice is text and installation based; exploring themes such as censorship and connection to place, while her research focuses on ecological rights and approaches to caring for Country. This work is a response to the censorship carried out by institutions to justify colonialization. The censor exploits language such as ‘development’ and ‘modernization’ - which characterizes and objectifies Country as a resource / property - as opposed to a sentient living being, of which we are a part.
Jennifer is The Mill’s Writer in Residence 2019 and current Scotch College Writer in Residence
Amber Cronin is an emerging cross-disciplinary artist living and working on Kaurna Land. A recent graduate, her visual arts research is rooted in performative and sculptural gestures that engage the audience through the connection of memory, time and space. Amber is also the co-founder and previous co-director of The Mill Adelaide
My work is developed through a vocabulary of processes, forms emerge that reframe everyday actions as sites of ritual activity. Utilising elements of ceramics, textiles, performance, moulding and casting, my studio experiments are gathered and displayed in combinations that facilitate meditations on connection and discovery.
Amber is a Co-Founder and previous Director of The Mill, and continues to work from our studios
Robyn Wood is an Adelaide based designer and maker. Creating furniture, objects and lighting, she works with her clients on custom and small production pieces. Her work is informed by artisan approach, traditional joinery and current manufacturing techniques. She has a Bachelor of Design-Interior Design from the University of South Australia.
Maintaining a connection to nature is an important theme in my designing. Simple sculptural forms; Lines gently curved; The touch and feel of warmer materials; These are things I am drawn to. I aim to connect the end user to nature and to bring warmth and character into the spaces they inhabit.
Image: Zoe Freney, Postcard from Close to Home #3, 2020, pen on paper postcard, 152 x 132mm (Photographer: Chloe Metcalfe)
Postcards from Motherhood Public Program
Postcards from Motherhood is a group exhibition and community engagement project curated by multidisciplinary artist Tanya Voges. The exhibition features work by artists who are also mothers Bridget Currie, Zoe Freney, Rochelle Haley, Alana Hunt, Tania Mason and Tanya Voges. Postcards from Motherhood will be accompanied by a series of public programs which allow parents to participate as part of a rigorous arts community. All welcome!
Due to COVID-19 restrictions numbers are limited in our space. Please read carefully as some events are ticketed!
Tuesday 6 October:
Opening day & Tanya Voges ‘Performance for the Gallery’
Image: Zoe Freney, Postcard from Close to Home #3, 2020, pen on paper postcard, 152 x 132mm (Photographer: Chloe Metcalfe)
October 6 – 30, 2020
Opening event: Friday, October 6, 2020, 5:30-7:30pm
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost: Free
Postcards from Motherhood is a group exhibition and community engagement project curated by multidisciplinary artist Tanya Voges. The exhibition features work by artists who are also mothers: Bridget Currie, Zoe Freney, Rochelle Haley, Alana Hunt, Tania Mason and Tanya Voges.
Postcards from Motherhood centres Mother Artists who continue to practice in the arts alongside their commitments to their families. The exhibition responds to the idea of sending a postcard from within the time and space of motherhood. Presenting paintings, drawings, textile works, photographic, film, performance and community contributions of postcards-as-artwork. Sent from around the world, these postcards connect local audiences to a community of mothers working across the globe. Postcards from Motherhood will be accompanied by a series of public programs which allow parents to participate as part of a rigorous arts community.
This project is presented as part of The Mill’s new program CaM-Res (Curatorial and Mentorship Residency) presented in partnership with City of Adelaide. In August Tanya Voges began a twelve week studio residency at The Mill, during which she has been developing this exhibition, collaborating with The Mill Studio resident Louise Flaherty and undertaking mentorship with The Mill’s staff. Tanya is stepping into a curatorial role for the first time, in an act that she refers to as ‘choreographing an exhibition’.
A postcard is sent from a place you visit, not the place you normally inhabit.
For this exhibition I’ve invited mothers who are practicing artists throughout the early years of motherhood to create work about the process and time of life we are in. The resulting works across a broad spectrum of mediums are influenced by inhabiting motherhood, yet not prescriptively about the act of mothering. This exhibition embraces the connections that these artists have to their families and because of that focus on creating life, respects that there is multiplicity at play in their practice.
Through curating this exhibition I aim to create an exemplary process practice modelled on the movement for Mother Artists that is taking place throughout the world. The model of an Artist Residency in Motherhood that Lenka Clayton detailed as an open source model has given me an anchor to my changing practice at a time where my life is in flux. Developing a supported studio practice with integrated childcare and arts spaces that welcome children has become part of my process as I recognise the need for my community, inspired by the Mother House model in London. My focus is on caring for more than just my own wellbeing, and the importance I feel to be an example for the next generation, so that we can stay engaged in meaningful work and connected to a broad community, while being a mother.
Mothers should be supported. There is a profound need in society of understanding what motherhood means, the invisible unpaid labour of caring for a child and raise him or her into an adult in this society should be evaluated and recognised and not ignored…Starting from this awareness then we can try to create more infrastructures that facilitate a woman in pursuing her career while nurturing her practice as a mother.– Dyana Gravina (Procreate and Mother House)
Tanya Voges is The Mill’s inaugural CaM-Res artist. She has begun a twelve week studio residency at The Mill as part of a new program, CaM-Res (Curatorial and Mentorship Residency), presented in partnership with City of Adelaide.
Call for Contributions
In the lead up to the exhibition Tanya invites mothers to contribute postcard sized works. Imagined as a way of capturing a moment from the time and place of motherhood, send us a postcard that speaks to some aspect of your experience of being a parent. Use an existing postcard and modify it, use either side of the paper, or create something out of other materials that is 4”x6”/A6. This modest size has been selected as it is manageable, small and fits between all of your other commitments.
Please send postcards to: ATTN Tanya Voges C/o The Mill, 154 Angas Street, Kaurna Yarta Adelaide 5000
