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alyssa powell-ascura, public program, masterclass series, galleries

Workshop: Kain Tayo [let's eat] with Alyssa Powell-Ascura

Adele Sliuzas ·

Artwork: Sari Sari Store, Alyssa Powell-Ascura. Photo: Daniel Marks.

book tickets

Workshop

When: Sunday, July 21, 12-3pm

Where: The Mill, 154 Angas Street, Kaurna Yarta

Cost: $45 (+booking fee)

  • The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Join artist Alyssa Powell-Ascura for a relaxed lunch gathering where you’ll learn about Alyssa’s approach to art-making through the lens of food, family and culture.

Experience making your own halo-halo, learning about Filipino food through the act of kamayan (eating with hands) and feast through a curated menu featuring iconic Filipino food favourites.

This workshop is presented as part of Alyssa's solo exhibition Halo-halo, currently showing at The Mill in cooperation with Mahmood Martin Foundation.

What to expect:

Seated within Alyssa's exhibition, guests will be served traditional Filipino dishes and learn about Kamayan (eating with hands). All food provided, and the bar will be available to purchase wines from Hither & Yon and take home a complimentary Mama Sita’s package to recreate Filipino dishes at home.

Dietary note:

Vegan options available.

  • A self titled “slashie”, Alyssa Powell-Ascura is a multi-hyphenated creative. Proud to have grown up in Bundjalung country in a Filipino-Italian-Australian household, she has a background that has given her an interesting, layered perspective on the world.

    Alyssa works across a variety of artistic mediums including: writing, conceptual art, immersive installation, traditional and mixed digital media, just to name a few.

    Her personal belief in the interconnected relationship of humans to nature drives her to pursue advocating better care of ourselves and our Earth. A finalist of the inaugural SA Environment Awards 2023, she is nominated for her environmental advocacy and using her platform as an emerging creative to promote sustainability and inspire young people.

    Motivated to bridge a deeper understanding and connection of Indigenous Philippines and pre colonial Indigenous Australia, Alyssa aims to be actively involved in the intersections she is a part of.

    Her creative work has been featured in a variety of local and international publications such as: Local Brown Baby (US), Kindling and Sage magazine (AU), Blank Street Press (AU) and The Philippine Times (AU). She has been published in The Entree.Pinays' anthology "The Calamansi Story: Filipino Migrants in Australia".

    If she’s not talking to the local Aunties and writing about food and culture, she can be found by the beach patting puppies who stop by to say hello.

read more about the exhibition

This project has support from

 
 
 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, alyssa powell-ascura, galleries

Exhibition: Alyssa Powell-Ascura, Halo-halo

Adele Sliuzas ·

Image: Alyssa Powell-Ascura, Kain Tayo, 2023-24, photo: Louis Bullock

June 3 - August 23, 2024

finissage tickets

Finissage: Friday August 23, 4:30-6:30pm

list of works

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Halo-halo in The Mill’s Gallery II, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery II is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present Halo-halo, a new exhibition by Alyssa Powell-Ascura developed through the Delima Residency in Rimbun Dahan, Malaysia, and at The Mill. Alyssa explores her Filipino heritage and her experience of undertaking the residency in Malaysia through video, installation, photography and personal essays. Her work touches on multi-sensory experiences, bringing audiences into the act of kamayan- a traditional Filipino method of eating with bare hands. She invites audiences to immerse and participate within her installation environment. Photographs evoke the lush, humid environment at Rimbun Dahan and create a conversation between Alyssa’s experience in Malaysia, her ancestral home in Pilipinas (The Philippines) and growing up here in ‘Australia’

Halo-halo is presented in cooperation with the Mahmood Martin Foundation and with support from Creative Australia.

view the Virtual Gallery

  • Halo-halo (loose translation mix-mix or mixed) is the name of a popular Filipino shaved ice dessert made by layering a concoction of various ingredients. Each layer of different traditional toppings can be eaten one by one, or usually mixed, eventually combining into a sweetened dessert.

    As an emerging multi-hyphenate artist, my first major solo exhibition at The Mill shows my investigation of cultures and the intersections I find myself in as an Asian Australian; a halo-halo of identities, the overarching theme of the exhibition.

    Through the lens of food, family and culture, the audience is welcomed to a seat at the table, weaving together threads of tradition, memory, and contemporary discourse into a rich tapestry of multi-sensory experiences. Much like halo-halo, the exhibition showcases diverse works that are experimental in nature that you can consume on its own — and then all together, creating a mouthful of complementing ideas.

    Some of the works showcased in “Halo-Halo” draw inspiration from living indigenous practices, for example, the act of kamayan seen in the video work Kain Tayo, employ the method of eating food with your hands, where communal feasting becomes a metaphor for shared experiences and collective consideration.

    Central to my artistic vision is the conscious incorporation of repurposed or found items. Everyday items common in Filipino households, such as the ubiquitous kumot or blanket, serve as anchors, becoming symbols of resilience and adaptation; ultimately interrogating the assignment of value of these otherwise ordinary items when shown in a gallery setting.

    During the Malaysian part of my Delima Residency, I engaged directly with community members, witnessed rural rituals, and embarked on a personal journey. This immersive experience deepened my connection to my Filipino lineage, shaping the spiritual dimension of my artistic practice.

    Halo-halo is more than an exhibition — it is a celebration of the fifth largest migrant community in Australia whose ties to Indigenous Australia transcend pre-colonial times. It is an extension of myself, my unapologetic love letter to my Filipino ancestry and Australian upbringing.

  • A self titled “slashie”, Alyssa Powell-Ascura is a multi-hyphenated creative. Proud to have grown up in Bundjalung country in a Filipino-Italian-Australian household, she has a background that has given her an interesting, layered perspective on the world.

    Alyssa works across a variety of artistic mediums including: writing, conceptual art, immersive installation, traditional and mixed digital media, just to name a few.

    Her personal belief in the interconnected relationship of humans to nature drives her to pursue advocating better care of ourselves and our Earth. A finalist of the inaugural SA Environment Awards 2023, she is nominated for her environmental advocacy and using her platform as an emerging creative to promote sustainability and inspire young people.

    Motivated to bridge a deeper understanding and connection of Indigenous Philippines and pre colonial Indigenous Australia, Alyssa aims to be actively involved in the intersections she is a part of.

    Her creative work has been featured in a variety of local and international publications such as: Local Brown Baby (US), Kindling and Sage magazine (AU), Blank Street Press (AU) and The Philippine Times (AU). She has been published in The Entree.Pinays' anthology "The Calamansi Story: Filipino Migrants in Australia".

    If she’s not talking to the local Aunties and writing about food and culture, she can be found by the beach patting puppies who stop by to say hello.

This exhibition has support from

 
 
 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, galleries

Exhibition: A Resting State, Curated by Hamish Fleming

Adele Sliuzas ·

Image: Hamish Fleming

June 3 - August 23, 2024

Artist talk tickets

Artist Talk: Friday August 9, 5:30-6:30pm

list of works

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find A Resting State in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Hamish Fleming, George Gilles, Anthea Jones, Robert Viner Jones and Billy Oakley

The Mill is excited to present A Resting State, a new exhibition curated by resident artist Hamish Fleming, featuring work by Hamish Fleming, George Gilles, Anthea Jones, Robert Viner Jones and Billy Oakley. In A Resting State artists have used the medium of painting as a device to create mood and atmosphere within everyday environments. Self-taught artist and now emerging curator, Hamish, has worked closely with the artists to develop an exhibition environment that is rich with feeling through the use of lighting, texture and colour.

download the catalogue

  • A Resting State explores the relationship between the individual and their routine environment. Five artists working across different mediums and traditions have created works from mundane domestic settings. By focusing on what is, at first glance, incredibly simple subject matter, each of these works delve into the subtler elements of image making to take these common surroundings and bring forth their potential to reflect contemporary experience. From more traditional realism to dark, vibrant expressionism and even crisp nonrepresentational works, A Resting State is a visual demonstration of how the mental experience impacts our perception of daily life.

 

About the artists:

  • Artist statement

    Domestic settings and household objects are not uncommon in my work. The visual symptoms of who we are and what we’re like behind closed doors fascinates me. Habits, rituals and vices are intrinsically intimate when addressed rather bluntly. My work is painted solely from life, and I attempt to address my subjects earnestly, often gravitating towards darker, grungier subject matter. These five works address the domestic environment, specifically mine, in two different emotional tones. The works; Sink, Again and Just Don’t Think of it So Much, open with on a darker tone. Despite their more sullen nature, there’s a comfort to be found in each, however; its cold comfort at best. Flat, Exterior, Late depicts my personal residence, observed from the outside in later hours of the night. Possessing both sinister qualities and a strangely inviting allure, the work presents this environment with foreboding welcome. Contrastingly, A Gentle Steep and Off the Clock are imbued with tenderness and a quiet warmth, shifting from the more solemn, gritty nature I typically present my work in. Objects huddled up and tucked closely together present an emotional intimacy, and a sense of comfort in company.

    Biography

    H. Fleming is a contemporary realist painter currently based in Adelaide (Kaurna Country), South Australia. Fleming is a self-taught artist, working closely both with and against the long-standing traditions of realism. He works solely from life, without the use of any reference photos, to convey the subtler elements of the human experience through frequently mundane subject matter. Fleming’s practice draws upon many influences, ranging from the classical masters and post-modernism, to gothic and dirty realism literature. In 2023 Hamish has been a finalist in the Bluethumb Art Prize, Centre for Creative Health Art Prize, and Smallacombe Prize, and winner of the Young Artist Category, Adelaide Parklands Art Prize.

    https://hflemingartist.squarespace.com/

  • Artist statement

    My ongoing body of work is an allegory for the collective human experience of fear instinct, the feeling just before the bad thing happens. My paintings explore the feeling of your stomach dropping just before the smoke screen is lifted. I have developed two series for this exhibition. The first is a departure from my previous larger scale post-modern expressionist works. I wanted to explore how more realistic form rendering and recognisable subject matter affects the audience's ability to relate to the work. Objects appear in and out of a dark background, emphasising the dichotomy between the mundane and uncomfortable. I have worked in many layers over time to achieve a representational, yet grimy atmosphere. The scenes were constructed in a cardboard box and lit by a single candle’s flame. I wanted to communicate the feeling of a precipice, a silent edge hidden within the normal everyday. Fruit is just about to topple and crash out of the composition, glass that could cut you, a glinting out-of-place corkscrew forced into an apple, forks jabbed into sliced lemons contrasted with pretty ribbons and high chroma, complementary colours.

    Building on from the first series, the works in the second series get larger, forcing the audience to stand further back and absorb the more complicated scenes. Dramatic candle light is still used, and the paintings still have sections of intense colour, but are now overall darker, dirtier and less reliant on simpler impressionistic colour-blocking. My rendering techniques shift to deliberate areas of lose, textural brush strokes contrasting against smooth blends, a palette knife was also introduced to diversify mark making. Scenes reflect potential danger: unlit matches next to a wooden doll, a precarious palette knife covered in red paint that looks like blood, perched, teetering glassware, random pins piercing the paintings. Items that could hurt you but usually don’t. The second series also has a personal undercurrent, each painting representing a conflict either with my internal thoughts or external interpersonal interactions. The lined paper within the jar of ‘Love, George x’ is a handwritten letter addressing a disagreement I had with someone. Despite my intentions I never delivered the letter.

    Biography

    George Gilles is a painter and tattoo artist from Adelaide, South Australia. In 2016 she was awarded a state merit for visual art and continued to pursue a career in the industry, winning the Emerging Artist awards from both The Prospect Portrait Prize and Urban Cow Art Prize. Since then she has been part of The Carclew Sharehouse Residency, presented her debut solo exhibition 'The Way Home' and has co-founded Adelaide Arcade’s first tattoo studio, The Gilded Goblin.

    George’s painting practice is driven by her desire to communicate emotional nuance through figurative works as well as inanimate objects and food. Currently, she is creating a body of work that pays homage to the traditional Dutch still life movement whilst also exploring personification and profundity of inanimate objects.

    https://www.instagram.com/georgegilles_tattoo/

  • Artist statement

    As an adult and an artist, where I lived and where I created were often one space, indeterminate of boundary, where did one end and the other begin? However, as a child there was never a doubt, my home was also my studio and gallery - my whole world. Home and the domestic was, and continues to be a constant source of comfort and inspiration. My two main paintings in this exhibition represent my earliest memory of deciding I would be an artist to finishing my art studies many years later!

    From around age 4 or so I would constantly be found playing (hiding) alone behind the couch, in my own little world. Drawing and making: creating whatever I could with all the bits and pieces from around the house. Always engaged, never bored, learning and developing new skills. Nothing has changed - 60 years later I am still doing the same thing, just not behind the couch!

    My painting The artist’s studio aged 6 - they ARE flowers mum! represents my earliest memory, deciding to be an artist. My mum was horrified at the drawing I insisted was flowers and not spiders. It did prompt the purchase of my first set of water paints and maybe started my subsequent lifelong love of colour theory and flora - who knows! It was also my first awareness of the idea that not everyone sees things the same way and I became more interested in representing things with a degree of accuracy.

    My painting The artist’s kitchen aged 60 - anatomy and teacup follows this trajectory through to finishing my art studies. Although I now have a designated studio my art paraphernalia still infiltrates my living space. Whilst studying anatomy there were numerous skulls, skeletons and écorché models casually resting amongst the teacups and the milk jug. As an artist these objects were my normal- their shapes, colours, the shadows they projected and the atmosphere they created mixed in with the detritus of my regular everyday world.

    Biography

    Anthea Jones is a visual artist and inveterate maker. Born in Millicent, now living in Adelaide, her formal qualifications include an Advanced Diploma in Visual and Applied Art, North Adelaide School of Art, a Graduate Diploma in Management (Arts), UniSA and a Graduate Certificate in Art History (Australian Colonial and Modern), University of Adelaide. In 2023, Anthea received the award of a Diploma in Atelier Art, Rob Gutteridge School of Classical Realism, Adelaide (an accredited atelier with the International Art Renewal Centre).

    Supplementing her formal studies, she has also attended numerous masterclasses at Adelaide Central School, summer school at the London Academy of Realist Art and life painting with acclaimed contemporary artist Shane Wolf in Yorkshire, UK. After the disappointment of a cancelled three months study at the New York Academy in 2020, Anthea was invited to and will be attending, a one-month residency at Chateaux d’Orqueveaux in France in June 2024.

    Anthea has successfully participated in numerous local and interstate art exhibitions and competitions and has had photographs of her works published. While her art training and focus has been on figurative oil painting and drawing, she also enjoys creating with textiles, mixed media, paper and found objects. Anthea is enthralled by the principles, elements and techniques incumbent in developing an artistic piece.

    https://antheajonesartist.com/

  • Artist Statement

    Working in fashion design brought me to painting, it was how I relaxed. I love the precision of painting circles. I've worked with colour all my life and have developed a reasonably sharp eye for hue and will spend hours considering shades etc. The bright colours, the defined shapes - it connects with my love of mid 20th century design, which I reference within my printmaking practice. Plus there is something about multitudes of shapes, a plethora of colour I enjoy - I think of these works as a herd of dots.

    Each colour is defined, there is no bleed between the images and I paint multiple layers to add a depth and intensity. Having come back to painting after practicing as a screen printer, I’ve found that I have wrestled with the texture. I’ve been thinking about how to make it flat, how to get rid of the texture. I’ve remembered how I achieved this years ago and yet now, I have also grown to love the texture and instead, have embraced the brush strokes.

    I am inspired by Joseph Albers and Bauhaus design. I have a book of Josef’s which I have regularly referenced for about 20 years. The blues, the greys and the stone are a nod those Bauhaus colours. I’ve added a pop of red, it's like a ruby. I usually use bright colours, so the curatorial brief for this exhibition has pushed me out of my comfort zone. My second work is a bit brighter, naughtily pushing back against the boundaries of the curatorial rationale.

    Biography

    Robert Viner Jones (AKA Bob Window) is a contemporary printer/painter based in Adelaide (Kaurna Country). Robert’s works offer bold, uncompromising graphics - stark and confident in their nature. Trained in Sydney, obsessed with design and colour, Robert’s works draw heavily on fearlessness of mid 20th century design plus an unbridled willingness to simply paint and print things that make him smile.

    https://bobwindow.com.au/

  • Artist Statement

    My works are representational and figurative explorations of the subconscious. I like to use narratives, people and places sourced from my life. The imagery of naive childish spooky dreams and silly fears rest at the bottom of the subconscious of the artist, here they are brought to the surface to be seen in their curiously cute seriousness and sulky playground dissatisfaction. I use deeply rich, bold and unnatural colours to illuminate solitary figures in their own environments, blurring the line between real and surreal. My work focuses on people and the deep personal mental worlds they create, how they exist within those spaces and the relationship outside reality has with this space.

    Biography

    Billy Oakley is a South Australian Artist exploring the subconscious through narrative imagery, people and place through his oil paintings. 
The imagery of naive childish spooky dreams and silly fears rest at the bottom of the subconscious, and here they are brought to the surface to be seen in their curiously cute sulky seriousness. Billy has exhibited at Floating Goose, Urban Cow, Collective Haunt, Brunswick Street Gallery, Mixed Spice Studios and The Mill.

    https://www.billyoakley.com/

 
 

This exhibition has support from

 
 

public program, chris siu, masterclass series, galleries

Workshop: Storytelling through Photography with Chris Siu

Adele Sliuzas ·

Artwork: Hong Kong Grocery - Adelaide South Australia, Chris Siu, 2022.

book tickets

Workshop

When: Saturday, April 20, 12:30pm-3:30pm

Where: The Mill, 154 Angas Street, Kaurna Yarta

Cost: $33 (+booking fee)

  • This workshop will include walking around Adelaide CBD.

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Join artist Chris Siu for a walking photography workshop. Learn about Chris’s approach to crafting narratives through sequences of photographs, focusing on the development of a visual language rather than individual images. Bring your own digital camera (camera phone, digital camera) and take a walk along Angas Street to the iconic Central Markets, collecting images and building a narrative.

What to expect:

The workshop will start at The Mill on Angas Street with an introduction from Chris and an opportunity to view his exhibition Riot on an Empty Street. Participants will be given the opportunity to devise a ‘mood’ or ‘theme’ for their series before walking with the group along Angas Street to the Central Markets on Gouger Street.

Participants will spend some time taking photos on their own devices, focusing on everyday life and following intuition. We will then return to The Mill for refreshments and to share with the group. The workshop will include an opportunity to chat about the photographs taken and to share the stories and narratives created through the photographic series.

Experience level:

No experience necessary. Participants must bring their own digital camera and must know how to operate it (no technical support will be provided about camera settings etc.) Some walking is required, please get in touch if you have any accessibility questions.

  • Chris Siu is a Hong Kong-born photographic artist living and working on Kaurna Yerta in Tarntanya Adelaide. Informed by the traditions of documentary photography, Chris’s work investigates and chronicles the intricate relationships that lie within his surrounding social landscapes. Chris’s practice is profoundly influenced by the flux of sociopolitical happenings in his homeland Hong Kong and his ever-changing place within it. Through exploring notions of layered histories and geopolitics, Chris’s work seeks to offer a reflection on personal and communal experience, pivoting around representations of civil unrest, diasporic experience, cultural displacement and marginality within contemporary existence.

    Chris has exhibited throughout Australia, beginning with his feature at the 2019 Head On Photo Festival. Subsequently, he has exhibited at venues including Nexus Arts, Adelaide Contemporary Experimental, Centre for Contemporary Photography, and Perth Institute of Contemporary Arts.

read more about the exhibition

This project has support from

 
 
 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, chris siu, galleries

Artist Talk: Chris Siu, Riot on an Empty Street

Adele Sliuzas ·

Photos: Daniel Marks

artist talk tickets

Artist Talk

Friday, April 12, 5:30-6:30pm

Gallery I, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Riot on an Empty Street in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Join Chris Siu and The Mill's Visual Arts Curator Adele Sliuzas for a chat about his new exhibition 'Riot on an Empty Street', now showing in Gallery I at The Mill. 

Chris Siu developed Riot on an Empty Street as part of The Mill’s Visual Arts Studio Residency program presented in cooperation with the Mahmood Martin Foundation.

read more about Riot on and Empty Street

This project has support from

 
 
 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, chris siu, galleries

Exhibition: Chris Siu, Riot on an Empty Street

Adele Sliuzas ·

Image: Chris Siu, Tattoo of a Wilting Bauhinia - Adelaide, South Australia, (detail), 2023, from the series Then We Keep Living Vol. 2. Courtesy of the artist.

February 5 - May 17, 2024

finissage tickets

Artist talk: Friday 5 April 5:30-6:30pm

list of works

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Riot on an Empty Street in The Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery I is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present Riot on an Empty Street, a new exhibition of photographs by Chris Siu derived from his ongoing project Then We Keep Living. Through medium format analogue photography, Chris explores his relationship with his homeland, Hong Kong. The work navigates the experience of mass civil unrest, as experienced in Hong Kong and living in diaspora here in Australia. The powerful images give the viewer a sense of dis-ease and tension, incorporating protest, the body, signifiers of colonial and authoritarian resistance and the political power of the masses contrasted with bone-aching isolation associated with cultural displacement, marginalisation and disconnection. Chris’ approach to image-making is cultural and academic as well as deeply feeling and intuitive. He offers us a very personal entry point into a political situation that many have observed through the cycles of journalism. 

Chris Siu developed Riot on an Empty Street as part of The Mill’s Visual Arts Studio Residency program presented in cooperation with the Mahmood Martin Foundation.

  • My residency at The Mill has been dedicated to developing the long-term photography project titled Then We Keep Living. The project navigates my relationship with Hong Kong through a two-volume narrative presented in medium format analogue photography. This exploration takes place against the backdrop of the 2019 mass civil unrest in Hong Kong, followed by my life in diaspora here in Australia.

    The two respective volumes delve into representations of dispossession and defiance amidst the city’s ongoing socio-political transformation, contrasting with poignant reflections on diasporic experience and its isolating facets associated with cultural displacement, marginalisation, and disconnection. The project stands as a testament to the nuanced interplay of political dilemmas, self-discovery, and the frequently overlooked, profound repercussions of civil unrest.

  • Chris Siu is a Hong Kong-born photographic artist living and working on Kaurna Yerta in Tarntanya Adelaide. Informed by the traditions of documentary photography, Chris’s work investigates and chronicles the intricate relationships that lie within his surrounding social landscapes. Chris’s practice is profoundly influenced by the flux of sociopolitical happenings in his homeland Hong Kong and his ever-changing place within it. Through exploring notions of layered histories and geopolitics, Chris’s work seeks to offer a reflection on personal and communal experience, pivoting around representations of civil unrest, diasporic experience, cultural displacement and marginality within contemporary existence.

    Chris has exhibited throughout Australia, beginning with his feature at the 2019 Head On Photo Festival. Subsequently, he has exhibited at venues including Nexus Arts, Adelaide Contemporary Experimental, Centre for Contemporary Photography, and Perth Institute of Contemporary Arts.

This project has support from

 
 
 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, galleries

Exhibition: Liliana Pasalic, Multiverse

Adele Sliuzas ·

Image: Courtesy of the artist

February 5 - May 17, 2024

finissage tickets
List of works

Exhibition opening: Friday, February 9, 5:30-7:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Multiverse in The Mill’s Gallery II, located at 154 Angas St, Kaurna Yarta (Adelaide).

    Gallery II is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present Multiverse, a new exhibition by Adelaide-based artist Liliana Pasalic. This exhibition presents a selection of new tapestries in tufted yarn on monk cloth. The work builds on Liliana’s former career in industrial design, as well as her practice in the visual arts, including painting. She skillfully uses the three-dimensional tufting in a way that is suggestive of abstract painting, combining positive and negative space with an adept use of colour and texture. She has also included a large tapestry-and-light-based installation pushing the medium to new and contemporary realms. The work draws on Liliana’s knowledge of contemporary and historical textile and tapestry practices, and imbues seriousness alongside humour in her art. 

  • Multiverse explores the translation of visual cultural material into tapestry. I have collected a lot of photographic source materials of pasted-up posters in the urban environments of the three cities where I have lived: Adelaide, London and Zagreb. Within these photographs I find and extract motifs, formed by the ripped posters, degraded by weather and also remnant graphic elements. This exhibition is a woven visual library, an attempt to alchemize my familiar psychologically mapped home environments into one visual poem. I invite the viewer to observe urban debris in their own immediate environments and hopefully be inspired to use it in their creative projects. This body of work is a continuation of my previous work in broader themes of home and crossing borders between mediums. The exhibition aims to offer a contemporary take on non-traditional/neglected mediums of contemporary tapestry and contemporary painting. For this exhibition I am using only compostable materials of wool, wood and cotton monk cloth, which is in alignment with environmental aspects of The Mill's vision. The exhibition is one possible way of blurring disciplines and mediums and contemplating history of art.

  • Liliana Pasalic has a background and formal education in industrial design, which organically transmuted into a full-time art practice over the last decade. Her practice centers on painting and tapestry while drawing from design recollections and blurring the boundaries between these vaguely intertwined forms. Pasalic’s work delves into art history, identity, the subconscious and relationships. Occupying the realm between abstraction and figuration, it references women’s roles, stereotypical suburban depictions, and iconic symbols infused with her individual outlook, both as creator and observer. Over the last 20 years she has exhibited design and artwork in solo and group shows around the world, including Zagreb, Ljubljana, New York, Bruxelles, Vienna, Adelaide, Jerusalem, Canberra. Pasalic is represented by Studio Gallery in Melbourne, Sydney and Brisbane and The Nada Gallery in Sydney. In 2023 she was a resident in The Mill as well as chosen as a finalist in the National Capital Art Prize in Canberra.

This project has support from

 
 

public program, galleries

Finissage: Alice Hu, 柔韧的骨头 (Annealed Bone) and Chantal Henley, Gulayi

Adele Sliuzas ·

Image: Courtesy of the artist

Finissage

finissage tickets

Friday, January 19, 4:30-6:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Gulayi and Annealed Bone in The Mill Exhibition Spaces, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill invites you to join us for the closing event of Gulayi by Chantal Helnley and Alice Hu's 柔韧的骨头 (Annealed Bone) and join Alice for a chat about her work.

 
 
about Gulayi
About 柔韧的骨头 (Annealed Bone)
 
 

public program, galleries

Exhibition: The Mill Showcase, Alice Hu, 柔韧的骨头 [Annealed Bone]

Adele Sliuzas ·

Image: Courtesy of the artist

register tickets

December 8, 2023 - January 19, 2024

Exhibition opening: Thursday, December 7, 5-7pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Hamish and Juliane’s work in The Mill Showcase Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present 柔韧的骨头 [Annealed Bone], a new Showcase exhibition by previous studio resident Alice Hu. The exhibition features new work in ceramic, glass and metal, some of which have been developed by Alice while she undertook the George Street Studio Residency, supported by Helpmann Academy.

Alice’s multi-disciplinary practice is conceptually and materially rich, exploring themes of immigration, acculturation and complex understandings of self. Sculptural works offer the comfort of familiar materials, smooth ceramic and glistening glass. However, Alice reframes materiality through sometimes strange assemblages, de-and-re-constructions, and a complex aesthetic unique to her practice.

The Mill Showcase is a gallery space dedicated to artists who work in studio spaces at our Angas Street location, exhibiting some of the artworks 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.

  • Alice Hu is an emerging artist with an Honours of Contemporary Art and Design, living and working on Kaurna Land, Adelaide. They work across mediums including ceramics, glass, painting, tattooing, and installation, drawing from lived experiences to explore concepts of multiculturalism, equality, freedom, life and nature. Her current practice is deeply influenced by her unique background and cultural art-form.

    The use of ceramics stems from an interest in philosophy, childhood stories and mythologies. Alice aims to create art forms with multicultural aesthetics to promote the beauty and necessity of a diverse society while investigating how different cultures interact. Alice has participated in multiple art programs, over-sea experience and workshop across USA, Italy, New Zealand, Japan and China, and have been apart of exhibitions in Adelaide including Bridge (The Main Gallery, 2021), Kaleidoscope (Praxis Art Space, 2021), Pendulum (Nexus Arts, 2022), VASL (Kerry Packer Civic Gallery, 2023) and currently has a studio residency at George Street Studio and was a studio artist at The Mill.

  • In my exhibition at The Mill, recycled metal and broken ceramics have found their second life together. The two distinctly different mediums has a strong character on their own and tells its unique story being together that forms a life and journey. The work has been welded, and the material have been carefully arranged to create an interesting and unique aesthetic. The different shapes, textures and colours of the ceramic and metal pieces interact with each other to create a dialogue between the two materials. The combination of the two materials creates a dynamic composition that is both visually appealing and emotionally evocative, it is very inspiring and a sentimental moment to see your broken, once shattered work to be alive again.

    Through the George street residency I sought to learn more skills that can help me define my concepts and to build artworks that can express my story. For my recent group exhibition, ‘Pendulum’ in Nexus Arts Gallery, I was supported by the Helpmann Academy’s Creative Boost Grant, and created several large ceramic works. As I worked on large ceramic sculptures, over 1 metre in height, I experienced lots of technical issues. It was not only a difficult process to make such large works, but I also encountered a number of problems during the drying and firing processes. One of the most unexpected, but ultimately fortuitous, outcomes was that the two large works exploded in the kiln during the firing process. It was a shocked like no other when I opened the kiln, but I then came to understand the resemblance between the broken work and my immigration experience, the world fell apart on me when I found out I had to move and leave everything I used to know behind. It was devastating, but yet an inseparable part of my life and my experience. The ceramic works were represented in the exhibition at Nexus as shattered pieces, and this process of breaking, rethinking, and “reassembling” became essential to actually ‘finishing’ the work.

    As I continue to develop as an artist and a person with a multicultural background, I have learnt more about the cultural history of both countries I have called home throughout my life, China and Australia. I realised how my unique aesthetics built from my multicultural background is at the core of my practice. As much as I loved this broken work and its strong impact on me, I need to further develop this concept.

    I have re-constructed myself and build works with my complex aesthetics, by combining these seemly irrelevent materials. As much as the shattering and breaking is what made this installation meaningful, it was essential for me to learn how to bring the pieces back together. I created this standing work, which acknowledges that while the pieces are still broken, they have been reassembled in reference to the re-construction of an identity after traumatizing experience or damage.

    These works were created mainly with the support from my George Street Studios Residency (through Helpmann Academy )

view the visual arts program archive

public program, galleries

Finissage: The Mill Showcase, Hamish Fleming and Juliane Brandt

Adele Sliuzas ·

Image: Courtesy of the artist

register tickets

Exhibition Finissage

Friday, December 1, 4:30-7pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Hamish and Juliane’s work in The Mill Showcase Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Join us for a drink and to commemorate the closing of Hamish Fleming and Juliane Brandt’s fantastic Showcase exhibition.

about the exhibition

public program, galleries

Exhibition: The Mill Showcase, Hamish Fleming and Juliane Brandt

Adele Sliuzas ·

Image: Courtesy of the artist

Finissage tickets

October 20 - December 1, 2023

Exhibition opening: Friday, October 27, 5:30-7:30pm

Finissage: Friday December 1, 4:30-6:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Hamish and Juliane’s work in The Mill Showcase Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present a new Showcase exhibition featuring work by Hamish Fleming and Juliane Brandt. Hamish’s oil paintings are moody and evocative, capturing narrative elements within his life - studio still life’s, discarded studies on the green velvet chaise lounge, the artist's shoes. Juliane’s sculptural work situates small clay figures and busts as the head of burnt matches, speaking about the power of fire to burn, but also to regenerate.  

The Mill Showcase is a gallery space dedicated to artists who work in studio spaces at our Angas Street location, exhibiting some of the artworks 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.

list of works

  • Hamish Fleming is a contemporary realist painter currently based in Adelaide (Kaurna Country). Fleming is self-taught, working both with and against the long-standing traditions of realism. In 2023 Hamish has been a finalist in the Bluethumb Art Prize, Centre for Creative Health Art Prize, and Smallacombe Prize, and winner of the Young Artist Category, Adelaide Parklands Art Prize.

    Artist Statement

    My practice draws upon many influences, ranging from the classical masters and post-modernism, to gothic and dirty realism literature. I work solely from life, to convey the subtler elements of the human experience through frequently mundane subject matter.

  • Juliane Brandt is a figurative sculptor, her artworks are an invitation for the viewer to engage and discover intricate facial expressions that visualise an interaction with the surroundings.

    Born in Berlin, Germany, and based in Adelaide since 2022, Juliane´s work evolved from a long process of studies and experiments formed by different influences. Throughout her life, she was able to experiment with many different materials and artistic forms, further developing her skills by gaining extensive practical experience during her Art & Design studies in Berlin and London.

    Juliane has presented her art in various exhibitions across Europe. Her artwork is on permanent display in different venues and also found in private collections. In 2023, she received a People’s Choice Award at the ‘Sculpture in the Garden’ Exhibition at Wollongong Botanic Garden, NSW.

    Artist Statement

    The Enlightened by Nature Series represents the celebration of life and nature through subtle expressions that become evident upon closer inspection.

    My work draws attention to the fragility of nature and the ability to regenerate when given the opportunity and place. Fire management, known as ‘cultural burning’, is part of how First Nations people protect their land, plants and animals. Controlled fires allow the land to rejuvenate and many plants to thrive.

    Symbolised by a simple tool – a matchstick – that becomes truly unique once it is lit, this piece of art celebrates the natural life cycle, the way we exist, interact and adapt to our environment – the foundation for the diversity of nature. They received a People’s Choice Award at the ‘Sculpture in the Garden’ Exhibition at Wollongong Botanic Garden in 2023.

view the visual arts program archive

public program, galleries

Exhibition: Chantal Henley, Gulayí [Woven Vessel]

Adele Sliuzas ·

Image: Courtesy of the artist

October 20, 2023 - January 19, 2024

Artist talk tickets

Exhibition opening: Friday, October 27, 5:30-7:30pm

Artist Talk: Friday, December 1, 5:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Gulayí in The Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present Gulayí [Woven Vessel], a new exhibition by Quandamooka and Mununjali artist Chantal Henley as part of Tarnanthi 2023. Working with textiles, Chantal explores body adornment through garments, sculpture, dance and film, embedding her connection to her Grandmother’s country and her own experience as a mother.

 
catalogue
list of works
 

  • Gulayí [Woven Vessel] is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.

    Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.

  • Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.

    From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.

    Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.

    Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayí songlines.

    Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayí (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.

    Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.

    Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.

view the visual arts program archive
 
 

This project has support from

 
 

public program, galleries

Artist Talk: Chantal Henley, Gulayí [Woven Vessel]

Adele Sliuzas ·

Photo: Courtesy of the artist.

register tickets

Artist Talk

December 1, 5:30-6pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free

  • You can find Gulayí in The Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Join Quandamooka and Mununjali artist Chantal Henley for an intimate Artist Talk, discussing her exhibition Gulayí [Woven Vessel] as part of Tarnanthi 2023.

  • Gulayí (Woven Vessel) is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.

    Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.

  • Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.

    From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.

    Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.

    Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayi songlines.

    Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayi (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.

    Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.

    Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.

view the visual arts program archive
 
 

This project has support from

 
 

public program, galleries

Exhibition: CHARTS Community Housing Arts Awards

Adele Sliuzas ·

September 28 - October 12, 2023

Free entry, all welcome

  • You can find CHARTS in The Mill’s Exhibition Spaces,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    Open daily, 10am-4pm.

The Mill is pleased to host the second CHARTS Community Housing Arts Awards 2023. The Community Housing Art Awards were created to celebrate and showcase the creative diversity, depth and talent of tenants of community and social housing.

The exhibition features a shortlist of entries from established artists, mid-career and emerging artists who live in community housing across South Australia. From paintings, drawings, photography, sculpture to digital and graphic art, poetry and literature, CHARTS is a celebration of creativity!

We welcome art lovers from the Adelaide community and beyond to join us for this exhibition.

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

 
 

public program, sponsored studio, yasemin sabuncu, galleries

Artist Talk: Yasemin Sabuncu, Alchemical

Adele Sliuzas ·

Image: Daniel Marks

register tickets

Artist Talk

Tuesday, August 8, 12-1pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Yasemin Sabuncu’s Alchemical in The Mill’s Exhibition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

Yasemin Sabuncu will chat with The Mill’s Visual Arts Curator Adele Sliuzas about the works in her solo exhibition Alchemical. This Artist Talk will also be live streamed via The Mill’s YouTube.

This exhibition reclaims the artist's space and power as a creative who has had their career and life effected by late-stage diagnosis of endometriosis and ADHD.

Yasemin Sabuncu is the recipient of the Mahmood Martin Foundation Sponsored Studio for the January-June residency in 2023.

  • Item description

  • Yasemin is multidisciplinary creative with a Turkish background who works as a writer, director, actress, artist and comedian. Studying a double major in screen and theatre production at Flinders University, she went on to study Honours specialising in video, digital technology and performance.

    She also studied long form improv and sketch comedy at the improv conspiracy in Melbourne, and at Groundlings and UCB in LA.

    Yasemin aims to create stories that uplift, engage and promote diversity in innovative ways. Her work explores ideas of belonging, identity, liminality, spirituality, the environment, race, health and being “the other.”

    Her work has been shown as part of ActNow Theatre’s digital residency in 2021 and FELTdark program 2022. She has also been a Midsumma Pathways participant,receiving mentorship from Victoria Falconer and Tj Dawe, Canada, for her 2021 Fringe show 'the Illest'.

  • The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street. Unfortunately, the main entrance is not accessible, as it has a small step from the pavement.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team you would like to come into the building.

    A member of The Mill team sit in the foyer Monday to Friday and can assist you with access to our wheelchair accessible entrance.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

Photographer: Daniel Marks

 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, sponsored studio, yasemin sabuncu, galleries

Exhibition: Yasemin Sabuncu, Alchemical

Adele Sliuzas ·

Image: Courtesy of the artist

Register tickets

August 4 - September 22, 2023

view the virtual gallery

Exhibition opening: Friday, August 4, 5:30-7:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Yasemin Sabuncu’s Alchemical in The Mill’s Exhibition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

For SALA 2023, The Mill is excited to present Alchemical, a solo exhibition by multimedia artist Yasemin Sabuncu. This exhibition reclaims the artist's space and power as a creative who has had their career and life affected by late-stage diagnosis of endometriosis and ADHD. The works explore how to find safety, rest, home, and love in a body that is often labelled wrong or is causing pain and disability.

Yasemin Sabuncu is the recipient of the Mahmood Martin Foundation Sponsored Studio for the January-June residency in 2023.

  • This exhibition explores the transformative power of chronic illness and how it can alchemise you into something unexpected, new, and uncharted. I wanted to show the shadow and light of the process of evolution I experienced trying to find healing, meaning, and answers to why I was feeling so out of sorts and being so sick I couldn’t work.

    Through tens of thousands of dollars in medical costs, being bed bound, unable to work, countless hours of appointments, surgeries, invasive tests, waiting up to a year for certain appointments, and evaluations I finally found some answers. It took almost two decades for me to find this diagnosis. I was not alone with the length of diagnosis, Endometriosis which effects 1 in 9 people who were assigned female at birth, takes on average 10 years to diagnose which is not good enough.

    The whole process had nearly broken me many times and I had to rely on my inner strength to survive and persevere with the uncertainty and my degrading health. Despite my best efforts I had slipped through the cracks of the medical system, and been living with undiagnosed endometriosis, adenomyosis, chronic fatigue syndrome/ME, and ADHD. It was a relief in some ways to find out what was ‘wrong’ with me, but then I had to let go of who I used to be and create a new life within the limitations of my conditions.

    Luckily now with understanding of my body and finding suitable treatments and surgery I have been forever altered and beginning a new life initiated by the alchemical process of living with my conditions. The liminal space I endured birthed into something beautiful, at times terrifying, and ultimately life changing. It made me look deeper into my spirituality, consciousness, and deep investigation of life and the universe. This process is represented through the spectrum of colours, shapes, textures, biological and geological imagery, and various mediums to reflect on some of my experiences through this process.

  • Yasemin Sabuncu is a multidisciplinary creative with a Turkish background who works as a writer, director, actress, artist and comedian. Studying a double major in screen and theatre production at Flinders University, she went on to study Honours specialising in video, digital technology and performance.

    She also studied long-form improv and sketch comedy at the improv conspiracy in Melbourne, and at Groundlings and UCB in LA.

    Yasemin aims to create stories that uplift, engage and promote diversity in innovative ways. Her work explores ideas of belonging, identity, liminality, spirituality, the environment, race, health and being “the other.”

    Her work has been shown as part of ActNow Theatre’s digital residency in 2021 and FELTdark program 2022. She has also been a Midsumma Pathways participant,receiving mentorship from Victoria Falconer and Tj Dawe, Canada, for her 2021 Fringe show 'the Illest', with support from Adelaide Fringe Artist Fund. Recently, Yasemin created a mural for My Lover Cindi, supported by Adelaide Fringe Fund.

 

The Mill’s Visual Arts Studio Residency is presented in cooperation with Mahmood Martin Foundation

 
 
 

public program, galleries

Exhibition: Kat Bell, Threads

Adele Sliuzas ·

Image: Courtesy of the artist

August 4 - September 22, 2023

register tickets

Exhibition opening: Friday, August 4, 5:30-7:30pm

The Exhibition Space, 154 Angas St, Kaurna Yarta

Free entry, all welcome

  • You can find Kat Bell, Threads in The Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

    Accessibility

    The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

The Mill is excited to present Threads, a solo exhibition by regional First Nations artist Kat Bell exploring the threads of memories and dreams that are stretched and broken through trauma, and their role in the healing journey.

  • This is a story of life, dreams and memories intertwining, entangling, and unravelling like threads falling from the tail of a wiry old beast.

    The artist has used painting, basketry, crocheting, embroidery, beading, weaving and digital projection, to represent the threads of dreams and memories as a survival of complex trauma, living through PTSD and the healing journey.

    Contrary to the darker, central topic of this exhibition, pieces are made using bright colours, playful imagery, and a childlike presence. The artworks are intended to be a mixture of pleasing, playful, wilful, dreamlike, imaginative, and challenging to the viewer. The viewer may not necessarily feel the immediate impact of the serious topic that is represented in these works, but when looking deeper into the pieces, and through written accompaniments, the somewhat uncomfortable and challenging nature of trauma and PTSD will bare through. This is intentional, as the artist believes that trauma doesn’t always mean that things need to remain dark and uncomfortable.

    Through healing, we can learn, grow, and take hold of these threads of memories and dreams, rethreading them into a new story, a new path, a new future.

    Why threads?

    The use of textiles, fibres, paint, and other mediums seemed like the most apt way to depict how our dreams and memories can be interwoven, or even confused as time goes on and the details become blurred as our minds age and memories slip away into muddled up images of reality and imagination. It also, speaks to the artists relationship with thread-based artforms, such as embroidery, fabric dying, hand stitching, crocheting, knitting, and so on, in their healing journey.

    The broader description

    This exhibition tells the tales of the past and the now, through the artist’s First Nation lens, using storytelling, akin to the dreaming, that looks to the wisdom and guidance of our ancestors to heal her heart, mind, and soul. The wiry beast (trauma) has left an echo of itself (PTSD), which plays a role in her waking thoughts and dreams, visiting her (like the old spirits of our dreaming stories), to remind her of what has been, what she has survived and that despite the past she can find peace, calm, freedom through the healing power of art.

    The artist is interested in how trauma expresses itself in our dreams, memories, and imaginings. How do we conceive and better understand these threads of memories, dreams, and imaginings, with and separate from their trauma beginnings? As each thread is unravelled over the years, how do we distinguish between what are threads of reality and those that are not, those that are the minds internal conjuring’s meant to protect the traumatised mind, those that are the individuals creations (a way of retelling events and seeing things through a different lens, whether intentionally or otherwise) or those that are simply broken, fragmented, damaged imaginings in our minds that are neither real or made-up?

    Somewhat contrary to the darker notion of trauma, the artist has chosen to represent their experiences of trauma in a lighter note, drawing on the idea of dreams as a way of controlling how past trauma can be halted from seeping through into the now.

    For more than 3 decades the artist suffered at the hands of their PTSD, with their trauma flooding through into every aspect of their life. A significant part of that was the way in which their trauma invaded their dreams. A life lived with nightmares, little sleep, a tightly wound nervous system and barely any reprieve from their past trauma, they were captive in what felt like an endless cycle of torture.

    The mind is a powerful tool. Understanding its power and how to take back control of it, was the only way forward. This is where dreams and their role in dealing with trauma became key to the artists own recovery. Through a lengthy process of learning how to regain control of their dreams, mastering the events and their reactions within the dream state and pulling apart these images thread by thread, replacing them with the now (or reality as it is), gave them greater control over their waking experiences. But the artist continues to unravel the threads of their dreams and memories, asking (rationally and logically) always, what is real and what is not.

  • As a First Nation Gudjula and Girramay woman, mother, and autistic person, I am interested in using a range of art forms to create narratives about my life experiences, in particular "surviving complex trauma (e.g. C-PTSD, DV, sexual violence)", and most importantly "what it means for me to be a neuro-diverse Aboriginal woman navigating a neurotypical world". These experiences sit at the core of my artistic practice. I am passionate about continually learning and sharing my Aboriginal cultures and reimagining them in a contemporary context, while also drawing on my experiences living and travelling to other places around the world. I draw on these influences, and my love for country and the colours that lather the Australian landscapes.

download the list of works

public program, galleries

Exhibition: Peter Owen, Flower Punk: Permaculture for Arts'n'Craft

Adele Sliuzas ·

images: Courtesy of the artist

May 1 - June 16, 2023

Launch event

Launch event: Friday, May 5, 5:30-7:30pm

artwork floor sheet

Free entry, all welcome

  • You can find Peter Owen, Flower Punk: Permaculture for Arts'n'Craft in The Mill’s Showcase Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Showcase Space is open Monday-Friday, 10am-4pm.

The Mill is excited to present Flower Punk: Permaculture for Arts'n'Craft, a debut collaborative exhibition by furniture maker and The Mill studio resident Peter Owen. Celebrating the history of repurposed materials, Peter’s work brings us back to the transformative power of the artist’s hand. Peter has collaborated with other Mill studio residents Julianne Brandt, Blake Canham-Bennett, Hamish Fleming, Eleanor Green, Evie Hassiotis, Kate O’Callaghan, Bob Window and Robyn Wood.

  • This exhibition explores art and crafts' relationship to sustainable living. My Flower Punk lamps are a celebration of hand-craft as our greatest source of renewable energy. Beneath the logic of mass production, third world exploitation, and in competition with improperly costed fossil fuels, we have lost sight of the efficiency and beauty in skilled work. The Flower Punk's joy and guiding principle is found in every opportunity to celebrate the maker over the machine.

    My lamp series has developed from an expression of my craft, into an opportunity to collaborat. I have worked with fellow artists to create works, some of which have become the lampshade and others the lamp base. I want to dazzle the audience with the creative possibilities of sustainable culture!

  • After his first love of music and philosophy resulted in a decade of stage-hand work at the Sydney Opera House, Peter realised his creative outlet in the end wasn't the ephemeral arts, but carpentry and craft. What has followed has been an eventful career as a furniture maker, both doing commissions and as workshop manager for The Bower - a Sydney not for profit focused on principles of reuse and repair. Having recently moved to Adelaide, Peter has stationed himself at The Mill to now focus on his flower punk lamps: A series inspired by the permaculture movement, by taking their principles and methodology in the garden and applying it to art and craft. These lamps, made from mostly repurposed materials, will illuminate on the theme of our two great solar powers - greenery (photosynthesis) and human labour. Key to Peter's philosophy is that it will be from the arts that we can find the subtle knowledge necessary to redress our societies in the face of climate change.

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

 

public program, galleries

Exhibition: Crista Bradshaw, Steel Chronis, Hamish Fleming, Honor Freeman and Angelique Joy, Still Self

Adele Sliuzas ·

Images: (L) Angelique Joy, Earthly Delights & The Spaces In Between (Audrey) ; (M) Crista Bradshaw, Remember 8; (R) Honor Freeman, Pieces of You. Courtesy of the artists.

May 1 - June 16, 2023

Launch event

Launch event: Friday, May 5, 5:30-7:30pm

artwork floor sheet

Free entry, all welcome

  • You can find Still Self in The Mill’s Exhbition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The Exhibition Space is open Monday-Friday, 10am-4pm.

The Mill presents Still Self, a group exhibition featuring work by Crista Bradshaw, Steel Chronis, Hamish Fleming, Honor Freeman and Angelique Joy, curated by Adele Sliuzas. Still Self brings together artworks that explore connection to and disconnection from the self. Each work exists as a glimpse, a moment captured and shared. The artists reveal traces of emotions, spaces, and bodies through different mediums including painting, sculpture, moving images, and installation.

  • Crista Bradshaw is a proud Wangkumaran contemporary artist. Residing in Adelaide, South Australia, Bradshaw grew up without a strong connection to her Wangkumaran heritage. She came to discover that through the process of colonisation and intergenerational trauma, her family had lost its relationship with their language group. It was in her late teens that she began to re-establish this connection. Crista works with forms of expanded painting, sculpture and installation, investigating modes of representation that showcase the ways in which Indigenous and Australian art has evolved.

    Steel Chronis is a South Australian Artist working on Kaurna Land. Mostly working in the medium of oil paint, she likes to focus her attention to the practice of still life painting.

    H. Fleming is a contemporary realist painter based in Adelaide (Kaurna Country), South Australia. Fleming’s practice blends together traditional and contemporary approaches to painting. Fleming works in the preestablished traditions of Still Life and Portraiture, utilizing them as avenues to address the shared experience of contemporary life.

    Honor Freeman is an artist living and working in the Fleurieu Peninsula on Ngarrindjeri land in South Australia, whose practice utilises the mimetic properties of porcelain, crafting objects that belie their materiality and purpose. Freeman completed her studies in 2001 at the South Australian School of Art. Following graduation, Honor took up an Associate position and Tenant residency in the ceramics studio at JamFactory Craft & Design. Her work has been curated into major exhibitions at institutions throughout Australia, including the MCA, Tarrawarra Museum of Art and The PowerHouse Museum. She has undertaken international residencies at Guldagergaard, Denmark’s International Ceramic Museum and in the US at Indiana University’s School of Art & Design.

    Angelique Joy is a Neuroqueer, visual artist working with photography and the expanded nature of the digital image. Angelique’s practice is informed by their Neuroqueer lived experience and through the intersecting frameworks of posthumanism, queer and xenofeminism.

    Their practice has emerged out of a concern with identity, otherness and space. They are interested in the cultural and material spaces we all unfold within. Increasingly their practice is interrogating the digital spaces we populate and how the technologically mediated bodymind is contributing to new worlds.

    They are particularly interested in exploring how each being, both human and non, unfolds, is constructed and performed within the spaces we inhabit, the spaces we claim, and the spaces we are kept from.

    Angelique is currently a PHD candidate at RMIT, School of Art.

  • The still life genre of painting, as an artefact of the western canon of art, can be seen as a public remnant of personal connection to objects; intimate, domestic, and related to our sense of self. The artists in this exhibition use objects within their work to tell stories specific to their experience of life. Tension is drawn between the real and virtual: the plush textile of Angelique’s sculptures and their rematerialised, digital twin; objects echoed in mirrored poses in Steel’s still lifes. Honor’s slip cast ceramic works create a sense of the uncanny, where we recognise the life-like qualities of the objects, but also understand that they are duplicates of the ‘real’. Hamish’s paintings of everyday objects create meaning through presence and absence. Crista invites the audience to witness moments of reconnection, using collage and mixed media to build a faceted journey of her and her family’s reconnection with the Wangkumara Language Group.

    -Adele Sliuzas

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

 

expand, public program, galleries

Expand: Make|Shift Exhibition

Adele Sliuzas ·

Image credit: Inneke Taal

July 8 - 28, 2023

Book immersive Opening Tickets

Immersive opening weekend: Saturday, July 8, 6-8pm, and Sunday, July 9, 12-4pm

view the virtual gallery

Free entry

  • You can find Make|Shift at The Mill Exhibition Space,
    located at 154 Angas St, Kaurna Yarta (Adelaide).

    The exhibition will run July 8-28. The Exhibition Space will be open:

    Monday-Friday, 10am-4pm

    Saturday-Sunday July 15-16 and 22-23, 4:30pm-7pm.

The Mill presents Make|Shift, an immersive and experimental exhibition of projection art as part of Illuminate Adelaide. The exhibition features digital image and projection based work by six South Australian multidisciplinary artists; Larrakia man James Alberts, Ray Harris, Sarah Neville, Liam Somerville, Inneke Taal and Tanya Voges, with Margie Medlin as Artistic & Curatorial Facilitator.

Working across dance, performance, visual arts, installation and experimental media the exhibition explores digital and virtual spaces. Make|Shift aims to create a space for the artists to experiment with ways of making and shifting time, place and space. Make|Shift artists are supported by artistic mentorship from illuminart’s Cindi Drennan, and Tim Gruchy.

 
Featured
Expand: Make|Shift Artist Talk
 

  • Make|Shift invited artists to explore their approach to formal notions of screen-media in an art gallery context. We invited each other to provoke the boundaries and traditions of photography, the moving image, sculpture, performance, and interaction within screen technologies. In workshops and practice-led discussions, across the gallery, we explored the interstices and intermeshing of these forms.

    As a group we mapped the gallery space as series of sites and surfaces. Projecting along the right angles, adjacent walls, corridors and crevasse of the galleries the moving images to create encounters that dominate the built environment, like geographers, our survey explores the shifting terrains of space, memory, story, and image. The exhibition asks how can cinematic ephemera interact with/in the gallery.

    -Margie Medlin

  • Spirit Shelf

    On a domestic shelf filled with jars, books and plastic, spirit shelf nods to preserved animals floating in flammable liquid on shelves in museums. But by projecting live animals filmed going about their daily life Spirit shelf speaks to extinction, cruelty, indifference humans have for the other inhabitants of the earth, through our use, abuse, denial, consumption, greed and destruction.

    Much as we are slowly destroying our home, we are rapidly affecting those who innocently live and try to survive and adapt around us. While we treat them with very little regard or relevance, much like the mundane inanimate objects in our pantry or office. Or token special items we hold in higher regard, a much-loved book or pet cat, while others become our endless mass of the unwanted.

    Ray Harris is an Adelaide artist working in video, performance and installation exploring the psychological complexities and struggles of the self. She is also a curator, advocate and initiator of projects and studios. Ray is committed to furthering the SA arts through participation, support, spaces and opportunities. She has a Master’s degree from UNI SA has won several grants and awards and has exhibited locally, nationally and internationally including: the Samstag Museum, AEAF, Adelaide Festival Hugo Michell Gallery, Sydney Contemporary Art Fair, Casula Powerhouse, Brenda May Gallery, Pirimid Sanat and Istanbul Contemporary Art Fair (Turkey) and SEEAF Art Festival (South Korea). Her work is held in The Borusan Collection and Project 4L- Elgiz Museum Collection, Turkey and private collections in Australia and has featured in publications such as Artlink, Art Collector, Broadsheet, Real time, and ETC magazine Canada. Ray led, curated (2 co-curated) and managed 3 group exhibitions and performance events at Holy Rollers, and Led, initiated, developed and executed Neoteric, a 20 mid-career SA group exhibition with 20 writers in Adelaide Festival, 2022. Ray was a co-director of FELTspace ARI from 2010 to 15, the co-founder of Peer studios, founder and director of Holy Rollers Studios, Prospect and now The Third Level Studios in the Adelaide CBD.

  • T = I/I0 Transmittance

    T = I/I0 Transmittance is a daylight simulator that explores the amount of light energy that glass absorbs, scatters, or reflects. The installation is constructed of glass and light, projecting weather as shadow for personal reflection on winter-time ambience in enclosed spaces. In a speculative future world, where underground/ weatherproof living is normal, identifying the psychological importance of dappled light as light fairies on walls will connect with us with seasonal shifts to enhance quality of life.

    Sarah Neville is an Australian choreographer and scenario designer who devises new media performance, instigates inter-disciplinary practices and invests in multi-platform processes and production outcomes. Sarah has created work for Adelaide Festival and Fringe, Ausdance Choreolab, Dance House, Australian Choreographic Centre, ADT’s Ignition season, Strut Dance, Link Dance Company (WAAPA) Vitalstatistix, MOD UniSA and the Venice Biennale 2019. In 2021 Sarah was awarded an Arts SA Fellowship to create dance for virtual reality experiences. In 2022, Sarah received a PhD from Deakin University/ Coventry University researching embodied participation in immersive digital environments. Sarah was an intern at the research centre for interactive and virtual environments (IVE) at UniSA and has presented at Siggraph, Technart and the 7th MoCo Conference. Sarah is currently an adjunct research fellow at UniSA Creative/ IVE.

  • marine_digital_conservation_SA_2023.exe

    marine_digital_conservation_SA_2023.exe, looks toward the inevitable digital future where we may live on a lifeless, artificial planet with only poor digital representations of the extinct species we have destroyed. Wouldn't it be so much better if we preserved the real thing instead?

    All over the world climate change caused by human hands under western capitalism has already made an enormous impact on the extinction of biodiversity of flora and fauna. If we continue on this path, which we show no meaningful signs of slowing down, soon there will be nothing left other than us humans and the livestock we like to consume. Millions of years of evolution annihilated for the sake of short-term corporate profits.

    As a society we have chosen not to stop our unsustainable consumption practices but to instead poorly digitise these living natural beauties before they are lost forever. Some chilling examples include the last remains of the extinct thylacine - 80 seconds of black and white film footage and a handful of pelts. Or the island digitisation project of Tuvalu, a Pacific Nation which will soon be underwater due to rising sea levels who are creating a virtual replica in a desperate effort to preserve their cultural heritage.

    Liam Somerville is a video artist and cinematographer living and working on unceded Kaurna Country in South Australia. After completing a Bachelor of Digital Media Arts from University of South Australia in 2010 Liam went on to form CAPITAL WASTE PICTURES where he has created and collaborated on music videos, video installations, feature films, documentaries, television commercials, VR games, dome projections and live visual experiences. Their digital works often circulate around inputting the beautiful imperfections of the human experience into the digital space to create cyborg interactions through the use of interactive sensors and motion capture. This can be witnessed in ESCHATECH VR, a post-human VR experience created in Unreal Engine with the assistance of Flinders University's 2021 Assemblage Artist in Residence Program. Other residencies such as with Cinematic Experiments with Margie Medlin at The Mill, Adelaide (2021) and Morphos Digital Dome Artist in Residence (2016) with Denver Arts +Tech Advancement in Denver, CO have all been beneficial for his continual visual exploration of the moving digital image.

    As a cinematographer Liam has credits including feature music doco The Angels: Kickin’ Down the Door (2022) directed by Madeline Parry which opened the 2022 Adelaide Film Festival, Video Nasty: The Making of Ribspreader (2020) directed by Matthew Bate and Liam Somerville and Yer Old Faither (2020) directed by Heather Croall.

  • A series of self-credits (as object; as site; as drama)

    I am considering the cross-over of theatricality behind the gallery (white-cube) and the theatre (black-box) as corresponding spaces at The Mill. Each are make-shift spaces that house processes of rehearsal, editing, experimentation, and production.

    I am moved by the invitation embedded in rehearsal processes. Impulse, improvisation, and the slow reflexive consideration of the space to be dressed for performance or exhibition as what activates a site and makes it responsive. The plurality of these bodily-spatial dialogue holds a state of becoming that I find precious, a series of vital passing moments that gather over time to form a multi-faceted whole.

    I also wish to interrogate the inextricable act of self-crediting that goes into making and viewing art.

    Through multiple modes of deconstruction, the collapsed rolling credits and truss as figures in space; the projection of the infinite gallery architecture reflecting itself and those who pass through in delay; and the illumination of an empty blacked-out performance space, I seek to promote the embodiment of these processes with the act of anticipation and viewing.

    The before the event.

    Inneke Taal’s sculptural practice utilises multi-media installation and performative practices as a way of considering subtle embodied experiences and spatial relationships. Taal has a particular interest in reflecting the making and receiving of artwork as a subject in her work, as well as producing site-responsive works. With a focus on process-based modes of production, Taal seeks to interrupt common modes of presentation, and interrogate linear narrative and logic, using a range of media including found objects, paper, moving image, text, and sound. The role of video and projection have become central mediums in her practice to explore the agency of the body, the lens, and site. Inneke completed a Bachelor of Visual Art Honours in 2019 following a Bachelor of Visual Arts in 2018, at Adelaide Central School of Art. She has a background working for performing arts organisations after completing a Bachelor of Arts Double Major in Linguistics and Drama in 2006 at Deakin University, Melbourne. Inneke received an Adelaide Fringe Festival Weekly Award for Art & Design in 2022 for her solo show ‘Site Interrupted’ at Sauerbier House and is a recipient of The Anne and Gordon SAMSTAG International Visual Arts Scholarship 2023 - 2024.

  • With/In

    With/In illustrates the relationship of the body to space, between the bodies of performer and witness and to itself as a kinaesthetic exploration. The interplay of the projected figure within the installation and architecture invites the viewer to consider their own sense of physicality as they are moved with and in the space. The experimental projection techniques show a study of the dance artist’s process informed by movement scores demonstrating elements of contemporary dance linage. Unlike viewing an ephemeral performance With/In offers an interactive glimpse into the ever-evolving practice of the artist’s signature choreographic process and only exists with the presence of the audiences’ movements.

    Interdisciplinary artist Tanya Voges brings her experience in dance, drawing, community engagement and dance film making to make multimedia performance works, live dance pieces and dance for screen. A 2004 graduate of Victorian College of the Arts, Tanya is currently back at the University of Melbourne undertaking a Master’s in Dance Movement Therapy. The cross over between arts and health has been a common theme in the community engagement works Tanya has created in recent years especially as Artist in Residence at Flinders Medical Centre Arts-in-Health (2020 & 2021) where she developed Drawn to Movement and Dance for Tender Times particularly with the patient experience in mind. Other residencies have been through Australian Dance Theatre (2021), The Mill (2020) and Guildhouse/SA Museum Tracing the Anthropocene (2020), Critical Path (2014), BigCI(2014) and Bundanon (2011 & 2013). Recent collaborations with Artist Louise Flaherty and Musician Belinda Gehlert have led to participatory performances in the Parklands (2020), Adelaide Botanic Gardens (2021 Nature Fest), Mt Lofty Botanic Gardens (2022 Fringe) and a new work for Lobethal Bushland Park (April 2023 Fabrik). As an advocate for dance for all ages Tanya facilitates choreography, contemporary dance and improvisation for Adelaide Festival Centre, Tafe SA, Restless Dance Theatre, Flinders Medical Centre and Carclew.

  • James Alberts, aka Jimblah, is a Larrakia Brother who specialises in activating community & using the power of creative space to bring about healing, joy, and play where Community and Country are concerned. James is a music producer, vocalist, photographer & cinematographer, and utilises Song & Story to help uplift and transform Community for the better, and has close to 20 years of experience working within the First Nations sector, in particular youth spaces, all across the Country.

    Artistic & Curatorial Facilitator:

    Margie Medlin’s practice tracks in a linage of expanded cinema, her interdisciplinary projects explore interrelationships between movement, devised spaces, and media technologies. Throughout her practice, she has continued to experiment and forge new ground aesthetically, collaboratively, and technically. Her media artwork has been exhibited extensively including in India, the USA, Cuba, Australia, Germany, the UK, Japan, and Finland. As an educator, Margie was the director of Critical Path, centre for choreographic research in Sydney from 2007-2015.

    Artistic Mentorship and Professional Development:

    Tim Gruchy’s extensive career spans the exploration and composition of immersive and interactive multimedia through installation, music and performance, whilst redefining its role and challenging the delineations between cultural sectors. He has exhibited multimedia works, photography, video, music and performance since the early 1980s on 5 continents as well as his larger expressions in the public art arenas. His installations and performances feature in many international and Australasian institutions, festivals and public spaces including IlluminateADL 2021, Future Intelligence Shanghai 2019, WOMAD (2018/7), Wenzhou Bienalle (2016), Dak’ Art Dakar (2016), Auckland Arts Festival (2015 & 2009), New Zealand Arts Festival (2014), SCOUT Auckland (2012), Biennale of Sydney (2012) (collaboration), Beijing 798 (2011), Shanghai Expo (2010), 2nd Asian Art BIennial Taiwan (2009), Melbourne International Arts Festival (2009), Adelaide Festival (1986-2008), and Sydney Festival (2004). Theatre and opera credits include ‘AIDA’; Sydney Opera House and touring Australia (2009-2013), ‘Ainadamar’, Adelaide Festival (2008);The Leningrad Symphony (2006). His visual designs have featured in works by Opera Australia, OzOpera, Sydney Theatre Company, Australian Dance Theatre, Auckland Philamonia Orchestra and Mau. He is an Adjunct Research Professor at the University of South Australia, and was Art Director and Distinguished Professor of the Digital Art Department, Shanghai Academy of Fine Arts from 2018 – 2021. His research has extended into areas of interactivity, the human computer interface, performative interactives, having established dedicated labs at QUT in Brisbane and SAFA in Shanghai. He is represented by Kronenberg Mais Wright Gallery in Sydney. He has lectured and facilitated workshops in video art and interactive digital design at creative institutions around the world including Shanghai; Future University of Hakodate (Japan); National Institute of Dramatic Art (Sydney); University of Technology Sydney; Te Papa (New Zealand) and Queensland University of Technology (Brisbane). He has also been extensively involved in museum design and various projects at the intersection of architecture and multimedia. www.grup.tv

    Cindi Drennan/Illuminart is an Australian multimedia artist and artistic director, specialising in projection art, with a passion for community building at the heart of her practice. Cindi is the founder and director of illuminart, bringing a wealth of experience and passion for the artform, and leadership to the projects. Architectural Projection and Projection arts projects directed by Cindi include Luminous Hall for UWA 2013; award winning No Boundaries Project in 2012; award winning Port Inhabited for Port Festival 2011; RED on Sydney Opera House for World Aids Day 2011; Fractured Heart for ARIAS and VIVID 2011-2012; The Ribbon for the Regional Centre of Culture program in Murray Bridge SA 2010, and Landed for the National Regional Arts Conference in Launceston, 2010, and Harts Mill Inhabited and Promise in 2009. Cindi’s multi-disciplinary background encompasses over 25 years experience in filmmaking, illustration, animation, community arts & interactive media. Cindi founded Illuminart in 2007, a South Australian arts company that integrates community consultation and engagement within high quality projection arts, architectural projection and audiovisual storytelling. Prior to this Cindi’s creative leadership roles included Tesseract Research Laboratories 1997-2004, The Electric Canvas 2004-2006, and also team leadership roles at the Institute for Interactive Multimedia (UTS) and Unlimited Energee 1993-1997. Cindi’s accomplishments include contributing projection art for the Commonwealth Games in Melbourne, DOHA opening ceremony and Singapore National Day; directing several short films and television commercials; directing two experimental AV theatre projects (Alpha Release at p-space, and Sprocket at The Studio Sydney Opera House); pioneering VJing and projection mapping in Australia.

  • Make|Shift is part of The Mill’s Expand program, a responsive process and development program, with interest in challenging artists to explore interdisciplinary, site-specific and audience-focused new work.

    Expand supports artists to explore different modes of collaborating and encourages peer-learning. It enables risk taking, experimentation and freedom of expression in the creation and realisation of new works. Expand invites audiences to not only appreciate, but actively participate in the practice of art-making through artists talks, Q&A’s and public workshops.

    The exhibition has been developed through Expand’s Cinematic Experiments: Projection Techniques and Technologies program.

  • The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.

    Unfortunately, the main entrance is not accessible, as it has a small step from the pavement.

    Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team you would like to come into the building.

    A member of The Mill team sit in the foyer Monday to Friday and can assist you with access to our wheelchair accessible entrance.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact us via email

This project has support from