Unravel is a first stage development of multi-disciplinary work exploring identity and connection to place that is enabled through embodied movement and text.
This project builds upon a collaboration between dance practitioner Adrianne Semmens and writer Jennifer Eadie and the publication created together, Unravel, facilitated by The Mill’s Writer in Residence program, and commissioned by Delving into Dance in partnership with Critical Path as part of the 2019/20 Digital Interchange Festival.
The project explores what it means to acknowledge a sense of disconnection-connection to place, exploring through memories, agitations and the calling for deeper connections to ancestral country.
About the artists:
Adrianne Semmens is a dance practitioner with experience working across the arts, education and community sectors. Adrianne is a descendant of the Barkindji People of NSW and a graduate of NAISDA Dance College and Adelaide College of the Arts.
Identity and place continue to be reoccurring themes within Adrianne’s practice, investigated throughout her own choreographic explorations and community based projects to embody place and memory, and interrogate social constructs.
Choreographic highlights include Thread (2020), created for The World’s Smallest Stage, in collaboration with Australian Dance Theatre, and engagement in Dance Epidemic (2018), creating a site specific work on a group of international youth dancers as part Creative Gatherings for Panpapanalya, Joint Dance Congress.
Adrianne’s professional experience also includes her role as a Dance Presenter for The Australian Ballet’s Dance Education Ensemble, as a performer for Gina Rings, Jo Clancy, Jade Erlandsen, Cathy Adamek and recent performances for Dance Rites, choreographed by Kaine Sultan-Babij. Passionate about dance education and the role of dance in maintaining wellbeing, Adrianne has worked on many youth focused initiatives, including projects for Kurruru Arts and Culture Hub, Carclew, University of South Australia, Department for Education and Ausdance SA.
Jennifer Eadie is a writer and artist living and working on Kaurna Yerta in South Australia. She is a graduate of UNSW Art & Design. Currently, an academic at UniSA and PhD candidate in the Assemblage Centre for Creative Arts at Flinders University. Her creative practice is primarily text and installation based: combining word, image, video, and found objects.
Her writing and art has been published in CORDITE Poetry Review, criticalpath, Educational Philosophy and Theory, Borderlands e-journal, Extempore and Frankie Magazine.
Her artwork was included in the third Mill Showcase.
Flatworld 64 is a new series of paintings by digital artist Danny Jarratt. Co-opting the design language of 90’s collect-a-thon video games, Danny invites audiences to step into a flattened, graphic world. He offers audiences a momentary escape from the noise of navigating heteronormative daily life. This series of bright, digital paintings are made up of gestures and painterly marks translated into a digital realm. Low-resolution & pixelated graphic shapes sit alongside digital airbrush and drop shadows, giving a sense of collapsed perspective and a non hierarchical plane of existence. Danny describes them as ‘perhaps paintings, or perhaps screenshots’ of a queer videogame landscape.
Through my heteronormative childhood, I found the media landscape of television oppressive. I was told to sit in front of the ‘idiot box’ and be a passive viewer. However, with the introduction of the Nintendo 64 and collect-a-thon video games the television transformed from passive to collaborative experience. Through role playing games my identity shifted from repressed to forever-in-flux: I could be male, female, a bear and/or a bird. As I inhabited these avatars I would explore different worlds including jungles, ruins, factories or outer space.
Within these worlds there were valuable objects to collect: Golden Jigsaws, Golden Bananas and Golden Stars. The worlds were filled with collectables and quickly the player would learn the lore of the land and develop a spatial understanding of the world and a connection to the place and self. In searching for these objects, I became connected. I feel deep attachments to Donkey Kong 64’s Jungle Japes and Super Mario 64’s Tick Tock Clock. All these spaces are queer escapes, where identity is transformative and always resistant.
This body of work portrays the world as flattened and paused, populated with unseen people, remnants of buildings and rare Ghost Diamonds. The player/audience is given reprieve from heteronormative noise and left with a peaceful queer silence; a moment in the game where everything stops. The bright colours and silence offer a zen and meditative escape. Unlike the video games which inspire them, this space does not reward the player/audience with level progression or bosses to fight. Instead you're rewarded with a better understanding of this queer environment, a search for diamonds and a queered quiet & flow.
Danny Jarratt (b. 1990 Kaurna Land, Adelaide) is an emerging queer digital artist exploring installation art. His work reflects a keen interest in the intersection of pop culture, queer theory and resistance. His installations function as micro-utopias and queer counterpublics which allow people to escape the imposing day to day ideologies and expectations, with fun and convenient methods, such as videogame design. He graduated at the University of South Australia with Bachelor of Art & Design (Honours) and recently finished a residency with George Street Studios. Jarratt’s emerging practice has exhibited locally at FELTspace, MOD., Praxis Artspace, Fontanelle Gallery and The Adelaide Festival Theatre Media Screens. He recently undertook his first interstate solo exhibition Neo Glitch City at Seventh Gallery and has international features in group exhibitions at MOM-us Experimental Center for the Arts in Greece, Dovetail Gallery in North England and was a finalist in the STARVD art prize in Singapore.
Opening event: Friday, October 30, 5:30pm to 7:30pm
Where: The Mill Showcase, 154 Angas St, Kaurna Yarta
Cost: Free
The Mill Showcase is a gallery spacededicated to artists who work in our studio spaces at our Angas Street location, exhibiting some of the artworks and products that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
This third edition of The Mill Showcase features work by Jennifer Eadie, Amber Cronin and Robyn Wood.
About the artists:
Jennifer Eadie is a writer and artist, living and working on Kaurna Yerta in South Australia. She is academic in the Aboriginal Pathway Program at UniSA, a doctoral candidate at Flinders University and a graduate of UNSW Art & Design. Her creative practice is text and installation based; exploring themes such as censorship and connection to place, while her research focuses on ecological rights and approaches to caring for Country. This work is a response to the censorship carried out by institutions to justify colonialization. The censor exploits language such as ‘development’ and ‘modernization’ - which characterizes and objectifies Country as a resource / property - as opposed to a sentient living being, of which we are a part.
Jennifer is The Mill’s Writer in Residence 2019 and current Scotch College Writer in Residence
Amber Cronin is an emerging cross-disciplinary artist living and working on Kaurna Land. A recent graduate, her visual arts research is rooted in performative and sculptural gestures that engage the audience through the connection of memory, time and space. Amber is also the co-founder and previous co-director of The Mill Adelaide
My work is developed through a vocabulary of processes, forms emerge that reframe everyday actions as sites of ritual activity. Utilising elements of ceramics, textiles, performance, moulding and casting, my studio experiments are gathered and displayed in combinations that facilitate meditations on connection and discovery.
Amber is a Co-Founder and previous Director of The Mill, and continues to work from our studios
Robyn Wood is an Adelaide based designer and maker. Creating furniture, objects and lighting, she works with her clients on custom and small production pieces. Her work is informed by artisan approach, traditional joinery and current manufacturing techniques. She has a Bachelor of Design-Interior Design from the University of South Australia.
Maintaining a connection to nature is an important theme in my designing. Simple sculptural forms; Lines gently curved; The touch and feel of warmer materials; These are things I am drawn to. I aim to connect the end user to nature and to bring warmth and character into the spaces they inhabit.
Image: Zoe Freney, Postcard from Close to Home #3, 2020, pen on paper postcard, 152 x 132mm (Photographer: Chloe Metcalfe)
Postcards from Motherhood Public Program
Postcards from Motherhood is a group exhibition and community engagement project curated by multidisciplinary artist Tanya Voges. The exhibition features work by artists who are also mothers Bridget Currie, Zoe Freney, Rochelle Haley, Alana Hunt, Tania Mason and Tanya Voges. Postcards from Motherhood will be accompanied by a series of public programs which allow parents to participate as part of a rigorous arts community. All welcome!
Due to COVID-19 restrictions numbers are limited in our space. Please read carefully as some events are ticketed!
Tuesday 6 October:
Opening day & Tanya Voges ‘Performance for the Gallery’
When: Wednesday, October 14, and Thursday, October 15 10am–4pm
Venue: The Mill Breakout Space, 154 Angas Street, Adelaide (enter via Gunson St)
Cost: $60 + booking fee
City Mobilities is a two-day intensive exploring ideas about the way we access and move in public spaces, supported by City of Adelaide. The workshop is open to artists and non- artists interested in gaining new skills and knowledge in site-based art projects. Over the two days, participants will work with the lead artists Tom Borgas (The Mill resident artist) and Paul Gazzola (OSCA Artistic Director) to explore how we can rethink and reconfigure the city’s infrastructure into other forms and functionalities.
What participants can expect:
The workshop will explore a variety of visual, design and performance making methods to highlight, question and renegotiate the importance of individual participation in public space. Participants will be invited to research various city sites and public spaces and develop a series of conceptual and physical responses in a collaborative studio-based set up.
The masterclass will:
Offer participants a fertile space to share, learn, create and exchange ideas, skills and processes
Open up new ways of thinking, doing and making in a collaborative and collegial gathering
Stimulate and support the skills development of local SA artists seeking new approaches to working within the public domain
What to wear: Participants are requested to dress adequately and bring a hat for the sun as we will be working outside at times
What materials to bring:
Participants need to bring a sketch pad and pencil/pen
All other materials will be supplied
The City Mobilities masterclass is a precursor to the development of a longer collaborative public art project planned for 2021/22 and is the second outcome of an ongoing partnership between The Mill and OSCA.
About the masterclass leaders:
Tom Borgas is an Adelaide-based visual artist working from a sculptural foundation across multiple platforms including gallery and project work, public sculpture, festival interventions, performance and education. His research finds its inspiration in the blurry spaces between image and object, virtual and physical, maker and viewer. Borgas’ work has been shown at galleries and venues across Australia. His practice continues to expand through commissioning agents including UAP, Stockroom and MARS gallery Melbourne, the City of Adelaide and the Adelaide Festival Centre. His practice has also been supported through organisations that include the Australia Council for the Arts, Arts South Australia, NAVA, Guildhouse and The Helpmann Academy. madebytomborgas.com
Paul Gazzola is an artist and curator working in the expanded field of participatory art practice, contemporary performance, sculpture, scenography and video. Over the last 25 years he has generated an innovative array of projects that explore the relationship between the body, site and the built environment. These works for stages, galleries, museums, site-specific settings and print have been commissioned and presented in Australia and internationally. He is also the Artistic Director of OSCA – Open Space Contemporary Arts. www.paulgazzola.org
Image: Zoe Freney, Postcard from Close to Home #3, 2020, pen on paper postcard, 152 x 132mm (Photographer: Chloe Metcalfe)
October 6 – 30, 2020
Opening event: Friday, October 6, 2020, 5:30-7:30pm
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost: Free
Postcards from Motherhood is a group exhibition and community engagement project curated by multidisciplinary artist Tanya Voges. The exhibition features work by artists who are also mothers: Bridget Currie, Zoe Freney, Rochelle Haley, Alana Hunt, Tania Mason and Tanya Voges.
Postcards from Motherhood centres Mother Artists who continue to practice in the arts alongside their commitments to their families. The exhibition responds to the idea of sending a postcard from within the time and space of motherhood. Presenting paintings, drawings, textile works, photographic, film, performance and community contributions of postcards-as-artwork. Sent from around the world, these postcards connect local audiences to a community of mothers working across the globe. Postcards from Motherhood will be accompanied by a series of public programs which allow parents to participate as part of a rigorous arts community.
This project is presented as part of The Mill’s new program CaM-Res (Curatorial and Mentorship Residency) presented in partnership with City of Adelaide. In August Tanya Voges began a twelve week studio residency at The Mill, during which she has been developing this exhibition, collaborating with The Mill Studio resident Louise Flaherty and undertaking mentorship with The Mill’s staff. Tanya is stepping into a curatorial role for the first time, in an act that she refers to as ‘choreographing an exhibition’.
A postcard is sent from a place you visit, not the place you normally inhabit.
For this exhibition I’ve invited mothers who are practicing artists throughout the early years of motherhood to create work about the process and time of life we are in. The resulting works across a broad spectrum of mediums are influenced by inhabiting motherhood, yet not prescriptively about the act of mothering. This exhibition embraces the connections that these artists have to their families and because of that focus on creating life, respects that there is multiplicity at play in their practice.
Through curating this exhibition I aim to create an exemplary process practice modelled on the movement for Mother Artists that is taking place throughout the world. The model of an Artist Residency in Motherhood that Lenka Clayton detailed as an open source model has given me an anchor to my changing practice at a time where my life is in flux. Developing a supported studio practice with integrated childcare and arts spaces that welcome children has become part of my process as I recognise the need for my community, inspired by the Mother House model in London. My focus is on caring for more than just my own wellbeing, and the importance I feel to be an example for the next generation, so that we can stay engaged in meaningful work and connected to a broad community, while being a mother.
Mothers should be supported. There is a profound need in society of understanding what motherhood means, the invisible unpaid labour of caring for a child and raise him or her into an adult in this society should be evaluated and recognised and not ignored…Starting from this awareness then we can try to create more infrastructures that facilitate a woman in pursuing her career while nurturing her practice as a mother.– Dyana Gravina (Procreate and Mother House)
Tanya Voges is The Mill’s inaugural CaM-Res artist. She has begun a twelve week studio residency at The Mill as part of a new program, CaM-Res (Curatorial and Mentorship Residency), presented in partnership with City of Adelaide.
Call for Contributions
In the lead up to the exhibition Tanya invites mothers to contribute postcard sized works. Imagined as a way of capturing a moment from the time and place of motherhood, send us a postcard that speaks to some aspect of your experience of being a parent. Use an existing postcard and modify it, use either side of the paper, or create something out of other materials that is 4”x6”/A6. This modest size has been selected as it is manageable, small and fits between all of your other commitments.
Please send postcards to: ATTN Tanya Voges C/o The Mill, 154 Angas Street, Kaurna Yarta Adelaide 5000
When: Friday, September 25, 2020, 5:20pm for a 5:30pm start
Where: The Mill Exhibition Space, 154 Angas St
Cost: Free
COVID-19 Note:Our capacity for this event is 25. Doors will close at 5:30pm, please arrive early for contact tracing and to get a seat. All attendees are required to know our hygiene policy before attending.
The Mill invites you to hear from ceramicist Frances Rogers in conversation with The Mill's Visual Arts Curator Adele Sliuzas. Frances will be speaking about her exhibition Future Fossils, currently showing at The Mill.
About the exhibition:
Future Fossils is a new solo exhibition by ceramicist Frances Rogers. Within this body of work Frances explores a sensory connection to earth, asking the audience to consider the materiality of clay through sound and touch, as well as the formal qualities produced through sculptural shapes.
Exhibition Details
Frances Rogers Future Fossils September 4 - 25 EXTENDED- now open Saturday 26th 10am-1pm and Sunday 27th 11am-3pm
Showing alongside Evie Hassiotis, Xenitia August 3 - September 25
EXTENDED- now open Saturday 26th 10am-1pm and Sunday 27th 11am-3pm The Mill, 154 Angas Street, Adelaide 5000
Where: The Mill's Exhibition Space, 154 Angas Street, Adelaide
Cost: $15, including a glass of wine (or softie)
What to bring: your favourite pen and notebook, or whatever you like to write with
Join The Mill's Writer in Residence Jess Martin for a poetry workshop in The Mill's Exhibition Space.
Presented by The Mill as part of the Writer in Residence program, participants will be guided through experimental ways to start creating poetry and express themselves authentically through text.
This two hour poetry workshop is for all levels, from the absolute beginner to confident poets looking for new creative tools. The workshop will lead participants through a variety of approaches to start writing poetry and understand what poetry is all about.
Jess will introduce participants to established poetic forms and branch out to explore the weird experimental possibilities that poetry provides.
Hosted in The Mill’s gallery space, we will have the opportunity to respond poetically to the September exhibition Frances Rogers, Future Fossils. This workshop is designed to be accessible to people from all creative backgrounds, for writers and non-writers wanting to explore poetic techniques to kick start the creative process.
When: Friday, September 18, 2020, 6:30pm (arrive 6.20pm for contract tracing)
Where: The Mill Breakout, 154 Angas Street, (enter via Gunson St)
Duration:1 hour including Q&A
Cost: Free
Fulfillment Centre is a new performance by Monte Masi which examines desire, online shopping trends, and what we do with the things that we buy (and say) late at night. Hovering somewhere between physical comedy, performance art and exhibition tour, expectations will be met and much cheaper items will be enjoyed in this work-in-progress showing.
The development of this performance has been assisted by a Guildhouse catapult mentorship with Hew Parham. This project has been supported by the Department of Premier and Cabinet through its Arts and Culture Programs.
Due to venue capacity restrictions, we ask you only book a ticket if you are able to attend. All attendees must be aware of our hygiene policy before attending our venue.
Monte Masi makes performances, videos, and text works which examine the labour of looking and the ways we look together: from the cool contemplation of the gallery space to the hot stare of the browser session and the complexity of encounters in the social sphere.
Recent exhibitions and performances have included llllllllllllllllllll (twenty lowercase Ls) as part of Louise Haselton: Like Cures Like performed at the Samstag Museum of Art, Adelaide; Born as part of Transcriptions for Fine Print, performed at the Art Gallery of South Australia, 2018; INSPI-RAY SHUN-SHUN APP-LI-KAY SHUN-SHUN at Hobiennale 2017, Hobart; and Work in Progress: Investigations South of Market at Yerba Buena Center for the Arts, San Francisco.
Future Fossils is a new solo exhibition by ceramicist Frances Rogers. Within this body of work Frances explores a sensory connection to earth, asking the audience to consider the materiality of clay through sound and touch, as well as the formal qualities produced through sculptural shapes. The relationship between the human body and the material world are at the core of Frances’ practice. Central to this is her own exploration of process, which emphasises intuition and the sensory. Within her practice there is a temporal tension between the ancient (clay earth, primitive memory) and the contemporary (formal considerations and sculptural practice). Frances brings the audience’s attention to aspects of our contemporary urban environments which can block our access and connection to nature.
This ceramic body of work is a material exploration of how shelter and architecture affect our wellbeing and sense of identity. The acceptance of impermanence and potential fragility of our security within the ever changing environment. I aim to draw focus upon human processes, sensitivity to our natural surroundings, and the importance of vernacular materials within our built environment. Our urban landscape is rapidly changing with the expansion of fast fabricated structures, lacking natural 'living' materials, which are void of evidence of manual process. The grey concrete boxes, spreading across the urban landscape.
The chain series was made using Raku clay links and a repetitive manual process of connecting circular forms, playing with the malleability and strength of clay, each link supporting the next. These objects go beyond three dimensional; they are adaptable, rearrangeable, textured and graspable, naturally scented instruments of percussion. I aim to capture the multi-sensory experience of clay, and the importance of understanding the materials we use to construct our environment.
“Nature itself is public space, not of people but for people as well. Nature needs no art; it is art. when we introduce art into nature, it must be done with great sensitivity." - Herman De Vries.
Frances Rogers is a sculptural artist intrigued with ceramics and found objects. Her recent work provokes concepts of fragility and impermanence. Within her practice she explores how we relate to the material world and the personification of objects, considering the multi sensual experience of each piece. With an emphasis upon process, Frances believes that the act of making pulls us into the present moment. Her goal is to make artworks that highlight the intrinsic value of vernacular materials and to manipulate our sense of time.
Frances Rogers completed her Bachelor of Contemporary Arts at the University of South Australia in 2019. During her studies she completed a year long study exchange in Spain at the Polytechnic University of Valencia, mentored by Sculptural artist Vicente Orti in 2017.
Frances received the Harry P. Gill memorial medal for her ceramic body of work in the Graduate exhibition ‘IN SITU’ 2019. Her work ‘Chain Series’ was then selected for the Helpmann Academy Graduate exhibition where Frances received the JamFactory Award. She is currently completing a mentorship program with the JamFactory and is an artist in residence at George Street Studios.
Where: The Mill Breakout Space, 154 Angas St (enter via Gunson St), Adelaide
Duration:1 hour (including audience feedback session after the showing)
Cost: Free
The Credits is a dance-theatre work focusing on the undeniable relationship between performer, creator and audience. Through examining our power and choices, 'The Credits' deconstructs the traditional theatre experience as we know it.
The work will be presented by creative team Zoe Gay and Felicity Boyd, of Motus Collective, and collaborator/performer Jacinta Jeffries, as part of The Mill's Spotlight Residency. This residency supports performing artists in developing and presenting new work through exploration.
Please only book if you are committed to attending as we adhere to venue capacity restrictions. All attendees must arrive 10 minutes early for contact tracing purposes.
Motus Collective are Felicity Boyd and Zoe Gay, based in Adelaide facilitating connections between artists from diverse backgrounds and disciplines in a shared rigorous contemporary movement-based practice.
Where: The Mill Breakout Space, 154 Angas St (enter via Gunson St), Adelaide
Cost: Free
This residencyis an open project development platform co-presented by The Mill and Brink Productions. It is an opportunity for performing artists/writers and/or theatre directors to develop a new work with the mentorship from established theatre director Chris Drummond of BRINK Productions and professional support from The Mill team and Director Katrina Lazaroff.
Jo Stone is this year's recipient and has spent two weeks developing and interrogating a new theatre work around the idea of 'a final hour' with the support of Brink’s Chris Drummond.
This Saturday, we will host an invite only informal artist chat with Jo Stone and Chris Drummond who will discuss the process of developing new work and preview ideas.
RSVP is essential to this session, which will be limited due to COVID restrictions. If you would like to attend, please click the button below and email through your full name and phone number to be notified of your spot by Director Katrina Lazaroff.
Cost: $95 ($10 per ticket donated to Catherine House – Supporting Women Experiencing Homelessness)
Presented by The Mill, in partnership with SALA Festival 2020.
About the workshop:
A truly unique experience, learn to mould and create your own unique Dots Pot booby pot! These fun, easy to follow pottery workshops are perfect for anyone out there who feels they aren’t very 'creative'! It’s also just a good bloody excuse to sit around a table with a bunch of like minded legends and remind each other just how great your bodies are - in every single way!
There are far too many influences that turn our bodies into something to critique or be ashamed of. Dots Pots just want you to love and accept every bit of yourself and remind you to help other women do the same. This workshop will light-heartedly focus on these so called ‘imperfections’ where participants will learn to build and mould with pottery and make their own booby pot with the use of air dry clay.
Go home with your very own booby pot, your own mini flower arrangement to display in your new piece of art, some cute self-love reminders and a fun new skill!
No experience required - all welcome!
What participants can expect:
Participants will take home their very own self-made booby pot, set of affirmation cards & small flower bunch.
Materials used:
Nontoxic Ceramic/Air Dry clay
Pottery wheel
Support Pins
Sculpting tools
Various fresh and dried flowers to arrange and display
Free tit-pot photoshoot (to be sent electronically)
Set of affirmation and self-love cards
Jessica Mason is a local woman who works within the legal sector of public service. As a result of severe personal trauma, as well as frequent exposure to the impacts of violence and domestic abuse, she wanted to find a way to reach out with messages of support for the local groups within Adelaide that support those experiencing displacement due to these all too common issues within society.
With the assistant of a psychologist and medical help, Jessica found a way to connect with her body again through self-taught art therapy, in particular, clay. Working with clay and pottery play can be instantly calming and reflective. As a feminist-in-training and a huge proponent of body positivity and expression, Jessica decided to create the project Dots Pots @doesmynippleoffendyou as a platform to discuss these issues, whilst also connecting locals to donate to services like Catherine House, Women’s Safety Services, Bfriend and many other local groups that work for those in need of support.
Dots Pots has run DIY pottery workshops across many public events like Gilles At the Grounds, Spin Off Festival, Laneway Festival and Porchland Festival. These workshops blossomed into a travelling party class, hosting hens shows, baby showers and birthday parties all across SA.
As a strong advocate for personal and self-care, Jessica works to try and spread the message of self-worth and expression through these Tit Pottery gatherings. Much more than a sit down how-to and a giggle with a group of friends, Jessica uses humour and vulnerability to distract the everyday person from the ‘I could never make something like that!’ and the ‘I’m not good enough’.
Where conversation can often be an incredibly important starting point for anyone who has or is currently suffering from abuse, Jessica often shares her story of sexual assault and recovery to connect women with the idea that there are always ways out of struggle and it is almost never alone. The pledge to donate $10 from every pot to these local groups is how as a group we can collectively say ‘we see the work you do and we deem it essential’, as those without networks of support truly deserve to have somewhere to turn in those dark times.
As a self-proclaimed ‘bumbling mess’, she understands the trepidation in trying something new but after assisting 100’s of people through her pottery classes, reassures you that anyone can find their inner craft Queen when it comes to working with pottery!
Dot, Jessica’s 77-year-old Nana, the project’s namesake has come along to most public events held by the project since its conception in 2018. Dot’s flirty, excitable personality brings an inspirational amount of self-confidence to Dots Pots events.
The project has recently been put on hold due to a recent and impactful loss within the family. The landscape in which the project will continue is still uncertain. Events like this may be sporadic but will assist in continuing to raise these important topics within the Adelaide community.
Where: The Mill Breakout Space, enter via Gunson St, Adelaide
Duration: 1 hour, including artist and audience Q&A
Cost: Free
A first stage creative development of How To Eat Rabbit, the latest play from actor and playwright Jamila Main, with actor Audrey Mason-Hyde, director/dramaturg Teddy Dunn, and movement choreographer Erin Fowler. How To Eat Rabbit asks how will we survive as our planet rockets towards climate catastrophe, and how we prioritise our own survival against our responsibility for those around us.
About the play:
How To Eat Rabbit was awarded a Merit Award from State Theatre Company of South Australia in the 2019 Young Playwrights Award. The first draft of the play was originally written in the fourteen days following the 2019 Australian Federal Election in response to Greta Thunberg and the School Strike for Climate movement.
Jamila Main is currently a Carclew Fellow, a Youth Advisor to Australian Theatre for Young People, a member of RUMPUS Theatre, and a Midsumma Pathways Participant. Jamila is a trained actor and award-winning playwright, and explores themes of autonomy, trust, and joy within queer and feminist dramaturgies in their work.
Jamila is a fierce advocate for people with Endometriosis with a focus on the intersection of queerness and disability. Jamila recently created an Inclusion Letter Template to request Endometriosis organisations and support groups improve the inclusivity beyond cis heterosexual women with Endo; the Template is currently being translated into Italian and Swedish.
Bookings are essential, please make sure you are at the venue and ready for the showing.
When:Friday, July 3, 2020, 5:30pm, 5:50pm, 6:10pm and 6:30pm
Where:The Mill Exhibition Space and Breakout, 154 Angas St, Adelaide
Duration: 40-50 minutes
Cost: Free
Have you ever wondered what the future might look like? Feel like? Taste like? Eating Tomorrow is a back-to-the-future time travel experiment, immersing audiences in prospective scenarios of what our food systems, customs and behaviours might become in the next fifty years.
Strap yourselves in as performers lead you through the progressive narrative of Eating Tomorrow: a brand new cross-disciplinary multi-sensory theatre work devised by the Post Dining collective. Expect to be immersed in imaginary worlds, see, smell, touch and taste what we think the future might have in store. This showing will be a work-in-development bite-sized morsel of a production in early development - so we'd love to hear your feedback after the production to tell us what you think was a hit, and what was a miss.
Bookings are essential, please make sure you are at the venue and ready for your designated timeslot.
Post Dining are a team of leading edge artists, performers, designers and producers who disrupt and reimagine the relationship between people, food, environment and culture. We pioneer new forms of entertainment and education that challenge and engage all the senses. For the past five years we have cut ourselves a niche in Adelaide through our immersive designs which communicate with audiences through memorable, thought-provoking and interactive performances, exhibitions, workshops and experiences.
Post Dining explores the artistic merits of using food as a tool to explore socio-political concepts, and to push the boundaries of intimate audience engagement. This involves the collaborative engagement of local artists, musicians and designers, producing work with the Australian String Quartet (ASQ), MOD., Open State Festival and Ernst and Young (among others). Check out Post Dining’s website for more info here
When: Saturday, August 15 and Sunday, August 16, 2020, 1-4pm
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost:$150, materials provided
Presented by The Mill, in partnership with SALA Festival 2020.
About the workshop:
Participants will be guided through a process of letting go of certain ideas about what art practice is and through a series of increments will explore their own creativity. No experience required, all welcome!
The workshop will give participants the opportunity to use various mediums and become comfortable with them and to explore techniques to create texture on their art work using various materials such as silicone, sand, tissue paper, card board etc.
Evie will give people the choice to paint what they see in the physical world or to express their inner landscape. Individual processes and ideas will be encouraged through the workshop.
What participants can expect:
On the first day they will explore working with:
Colour mixing (water colour paint)
Working with pastels and ink
Still life exercise using pastels and water colour
Experimenting with texture
On the second day they will have the opportunity to become familiar with acrylic on paper and canvas, and to explore its versatility and further explore techniques working with texture. Participants will take home at least one piece of art created that they will feel proud of.
Evie Hassiotis is an Adelaide based artist who works intuitively with textures and mixed media, photography and improvised dance. Evie believes in the potential of art to emotionally heal the human soul and to promote spiritual growth in the art practitioner and in the viewer. Improvised movement together with her art practice have been an avenue to express spirituality, creativity and art as a healing practice.
Evie began her art studies while living in Sydney in 1995 at the Bondi Road Art School. These classes ignited her enthusiasm for the visual arts and she is indebted to her inspiring tutors at Bondi for guiding her into the world of art. In 2019 she undertook Life Drawing classes at Central School of Art. She joined The Mill as a studio artist in February 2019 and has continued her develop her art practice there, including hosting regular open studio events as well as conducting art workshops for beginners and those people who want to tap into their latent creativity.
Evie has worked as a facilitator of art workshops for adults, including those living with dementia and has experience working with people in residential and community care. In her workshops she creates a space for participants to express themselves without fear of judgment and encourages participants to reveal their inner landscape using a variety of media. She currently works in a primary school with 5-9 year old students with learning challenges
Evie is currently working on an exhibition Xenitia, to be shown at The Mill during SALA 2020. Xenitia, meaning exile, explores the theme of migration of children and their families and centres around Evie’s experience of migrating to Australia from Greece in 1964 when she was 6 years old. The exhibition will include installation of handmade dolls, film and mixed media artworks.
Evie has exhibited as part of the Mitcham Art Prize, Victor Harbor Art Show, Walkerville Art Exhibition, SALA 2019 at Gallery One and at The Hampstead Rehabilitation Centre as well as hosting exhibitions from her home studio and her studio at The Mill.
Please join us in The Exhibition Space for Face Up, a solo exhibition by Yana Lehey for SALA Festival. Face Up is a series of large-scale watercolour portraits of youth climate activists.
Inspired by the energy and drive of youth climate activist from around the world, Yana has produced a body of work that celebrates determination and conviction. The series of larger-than-life portraits are arresting in their scale, and in their stance. Yana has taken inspiration from Australian artist Cherry Hood, creating intensity and conveying emotion through the glowering expression of the subjects’ faces. The levity of these large-scale works seeks to emulate the importance of their work. Yana has also focused on Indigenous activists, highlighting and centring their voices within the climate change discussion.
Face Up started life as an assignment for Life Drawing 2.2 at Adelaide Central School of Art, taught by Christopher Orchard. While sketching at the Art Gallery of SA I noticed that many portrayals of marginalised people in artworks seemed to be wearing the same pinched, fed up glower. I recognised the same expression in climate activist locally and worldwide. This caught my interest, as young climate activists are often discredited as ignorant, naive, and easily manipulated children. It brings to light a tendency to associate infantilisation with dismissal.
I decided to portray a very real and existential rage felt by a highly driven, but consistently dismissed group of people. This is especially true of the majority of the people portrayed in the Face Up series of Youth Activists. I have painted Greta Thunberg (Sweden), Jamie Margolin (USA), Vanessa Nakate (Uganda), Kevin J Patel (USA), and Isra Hirsi (USA), Xiuhtezcatl Martinez who has Indigenous Mexican heritage and is based in Colorado (USA), Artemisa Xakriabá of the Xakriabá tribe (Brazil), Helena Guaglinga of Kichwa-native & Finnish origin from Sarayaku in the Ecuadorian Amazon (Ecuador) and Autumn Peltier, who is Anishinaabe-kwe and a member of the Wiikwemkoong First Nation (Canada). Each activist has different strengths, different approaches, and different nuance in how they think of their activism. Despite their young age, many of these activists have been fighting for a decade or more.
The size of each portrait creates intensity which makes the gaze of each individual hard to ignore. Due to the layered nature of watercolour each piece is quite heavily worked, the facial expressions end up being quite complex. The many layers of the fragile medium make for a powerful effect, which echoes the strength in numbers of the climate movement. The portraits are deliberately composed so that most people would have to look up to meet each individual’s eyes in the portraits, creating a monument to the subject.
The point of the exhibition is to shine a light on diverse groups who are largely ignored in favour of white, comparatively privileged people. I hope it will start some conversations which need to be had.
Yana Lehey is a student at Adelaide Central School of Art. Her primary practice is in drawing, especially ink wash and watercolour. Her recurring themes are the environment and sustainability, and subjects which connect the world on a global scale. She has done a SALA exhibition in 2017 titled Meet The Locals, using boiled down espresso to create tonal drawings of animals native to coffee-growing countries. The aim of the exhibition was to encourage the audience to ponder the origin and impact of our coffee culture. This has led to her joining the ranks of RAW artists, and participating in their 2018 ENVISION showcase. She joined the Mill in 2018, and has been developing her practice in her studio space there since then.
Yana Lehey’s exhibition started life as an assignment for Life Drawing 2.2 at Adelaide Central School of Art, taught by Christopher Orchard.
When: Friday, November 13, 2pm to 4:30pm Where: The Mill Breakout, 154 Angas St, Adelaide (enter via Gunson St) Cost:$25
Holly Childs and Angela Goh will be in residence at The Breakout at The Mill during November, as part of Expand in 2020.
Angela Goh is a Sydney-based choreographer and dancer, and the winner of the 2020 Keir Choreographic award, and Holly Childs resides in Adelaide, working as a writer. Together, they will be developing CLIFFHANGER, a new, multi-art-form work bringing together dance, performance, text and installation. Read more about Angela and Holly’s journey via a blog post, here
The residency will culminate in a public showing of the work-in-development and a workshop, which will offer insight into the CLIFFHANGER project.
What participants can expect:
The workshop will explore the initial research strategies and materials of CLIFFHANGER, working with the “cliffhanger” which is both a narrative device to keep audience attention suspended, and a physical state of literal suspension. Holly and Angela will lead participants through various modes including discussion, movement practices and writing tasks. As this is a multidisciplinary focused workshop, diverse skills and experience are welcome and will be considered in the tasks and processes explored.
What to bring:
Please wear comfortable clothing/shoes and bring a notepad, pen and water.
About the artists:
Angela Goh is a Sydney based dancer and choreographer working with dance in theatres, galleries, and telepathic spaces. Her work considers the body in relationship to commodity, materiality, technology, and feeling. Her works have been presented widely in Australia and internationally, including SPRING Festival (NL), Baltic Circle Festival (FIN), PS122/Performance Space New York (USA), Auto Italia South East (UK), Liveworks Festival (AUS), Artspace Sydney (AUS), Arnolfini (UK), Fusebox Festival (USA), Festival of Live Art (AUS), Perth Institute of Contemporary Art (AUS), Campbelltown Arts Centre (AUS), the Asia-Pacific Triennial of Performing Art (AUS), the Judson Church (USA), My Wild Flag (SWE), among others, and presented by Galerie (int) at La Biennale de la Danse (FR); Jan Mot Gallery (BE); Dansehallerne (DK); Menagerie de Verre (FR); Saal Biennial (EST) and Oslo Internasjonale Teater Festival (NO).
Angela has been artist in residence at Tanzhaus Zurich (CH), Cite Internationale des Arts (FR), Critical Path (AUS), Arts House Melbourne (AUS), ADAM/The Kitchen (TWN). She received the danceWEB Europe Scholarship, the Create NSW Emerging Fellowship 2019/20 and the inaugural Create NSW and Sydney Dance Company fellowship 2020/21. She has won awards including Best Artist in the 2017 FBi Sydney Music Arts and Culture awards and the Keir Choreographic Award 2020.
Holly Childs is a multimedia artist and writer. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa), and is currently writing her third book, What Causes Flowers Not to Bloom? a collection of fiction, poems, and essays to be published by Subtext, Berlin, in 2021. She holds a Masters of Art and Design from Sandberg Instituut, Amsterdam, and has been a postgraduate researcher in The New Normal programme at Strelka Institute, Moscow.
Her most recent work is Hydrangea, a sequential spatial sound work for greenhouses, made in collaboration with J. G. Biberkopf, performed in botanic gardens in Melbourne (Liquid Architecture) and Amsterdam, NL (Botanische Tuin Zuidas), at festivals in Sydney (Soft Centre) and Olomouc, CZ, and at Vilnius Composers House, LT. Other recent work writing a poem for Angela Goh’s Uncanny Valley Girl, that performs alongside Angela, coded with support from cyberfeminist artist and programmer Linda Dement to subtly change each time Uncanny Valley Girl is performed.
Her works have been exhibited at Gertrude Contemporary (Melbourne), Firstdraft, (Sydney), Blue Oyster (Dunedin), Display (Prague). She has created performances for Arcadia Missa (London), PAF (Olomouc), Metro Arts (Brisbane), Firstdraft (Sydney), Minerva (Sydney), Casula Powerhouse (Sydney), Rile (Brussels), Trust (Berlin), Fuzzy Vibes (Auckland), and Liquid Architecture (Melbourne). She has lectured/spoken at Stedelijk Museum (Amsterdam), LunchBytes @ ICA (London), National Young Writers Festival (Newcastle), ACMI X/Experimenta (Melbourne), Melbourne Writers Festival (Melbourne), Emerging Writers Festival (Melbourne), Digital Writers Festival (online), Moscow Urban Forum (Moscow), Elam School of Art (Auckland), RMIT, VCA and Monash (Melbourne), and Gertrude Contemporary (Melbourne), and alongside Amelia Groom, she led Watermarks a research course for the Graphic Design department at Rietveld Academie, Amsterdam.
Please join us in The Mill Showcase gallery for SALA exhibition Xenitia a solo exhibition by Evie Hassiotis.
Roughly translated, Xenitia means self imposed exile. This project explores Greek migration to Australia during the 1950’s, speaking from Evie’s personal experience alongside the experiences of her family and friends. Evie has investigated the impact of migration, following narratives through the generations in order to more deeply understand how culture is transmitted and how migrant families have built communities and culture in Australia. Evie’s expressive multi-arts practice builds layers of understanding through the use of collage and paint alongside dolls made by individuals within her community, and a film ‘Made in Greece’. She speaks about community, identity and the role of art in the understanding of the self.
***The Mill’s galleries have reopened to the public following government guidelines, please observe social distancing and make sure to practice good hygiene. ***
This project explores the migration period that saw my family and many Greek migrants come to Australia mainly by passenger ships. It is about wanting to see what is happening now to those migrants and their children and grandchildren and how the contribution of these people has made a big difference in Australian culture and economy.
Many of my artworks are multilayered and I keep adding layers until the piece is finished. I have created some artworks relating to my own grief experience of being forced to leave my small community in Northern Greece to come to live in Adelaide in 1964. Producing this body of work has been a healing and transformative process for me, and has also allowed me to investigate how others have navigated life after migration.
Evie Hassiotis is an Adelaide based artist who works intuitively with textures and mixed media, photography and improvised dance. Evie believes in the potential of art to emotionally heal the human soul and to promote spiritual growth in the art practitioner and in the viewer. Improvised movement together with her art practice have been an avenue to express spirituality, creativity and art as a healing practice.
Evie began her art studies while living in Sydney in 1995 at the Bondi Road Art School. These classes ignited her enthusiasm for the visual arts and she is indebted to her inspiring tutors at Bondi for guiding her into the world of art. In 2019 she undertook Life Drawing classes at Central School of Art. She joined The Mill as a studio artist in February 2019 and has continued her develop her art practice there, including hosting regular open studio events as well as conducting art workshops for beginners and those people who want to tap into their latent creativity.
Evie has worked as a facilitator of art workshops for adults, including those living with dementia and has experience working with people in residential and community care. In her workshops she creates a space for participants to express themselves without fear of judgment and encourages participants to reveal their inner landscape using a variety of media. She currently works in a primary school with 5-9 year old students with learning challenges
Evie is currently working on an exhibition Xenitia, to be shown at The Mill during SALA 2020. Xenitia, meaning exile, explores the theme of migration of children and their families and centres around Evie’s experience of migrating to Australia from Greece in 1964 when she was 6 years old. The exhibition will include installation of handmade dolls, film and mixed media artworks.
Evie has exhibited as part of the Mitcham Art Prize, Victor Harbor Art Show, Walkerville Art Exhibition, The Hapmsted Rehabilitation Centre, SALA 2019 at Gallery One, and a solo exhibition Bitten by Bologna at Rusco & Brusco as well as hosting exhibitions from her home studio and her studio at The Mill.
Presented in partnership with Helpmann Academy, Dance Launchpad is designed to support recent graduates and emerging artists to build experience in the professional industry, by working with local South Australian choreographers and directors.
This inaugural program, supported by Dance Hub SA, Hopgood Theatre and Cirkidz, will nurture the ecology of dance in SA. Established artists will be commissioned to make new work, and share their industry knowledge with one emerging dance artist annually.
Recent Adelaide College of The Arts/Flinders University Graduate Jacinta Hriskin is the 2020 recipient of Dance Launchpad, a new program to support the growth and development of South Australian emerging dancers.
Jacinta (Jazz) will be working with three local choreographers; Tobiah Booth Remmers, Lewis Major, Erin Fowler and videographer Chris Herzfeld/Camlight Productions.
The process will result in three short solo works for Jazz and a professional showreel to showcase her skills as a dancer, for promotion nationally and internationally.
Jazz Hriskin is an emerging contemporary dancer and educator from Adelaide. Jazz completed her Bachelor of Education specialising in dance at the University of South Australia. In 2019, she completed her Creative Arts degree in elite performance at Adelaide College of the Arts via Flinders University and TafeSA. Over her three years of dance training she performed under the mentorship of many national and international dance artists including Garry Stewart, Kialea-Nadine Williams, Lewis Major, Lee Brummer, Michael Getman, and Niv Marinberg.
To continue her personal growth and career development in contemporary dance, Jazz has taken professional workshops with Hofesh Shechter, Akram Khan and Bangarra Dance Company. She has also gained experience through secondments with Sydney Dance Company, Dancenorth and Australian Dance Theatre. More recently, Jazz is working with the State Opera of South Australia and is determined to continue growing as an artist through performing, collaborating and learning with performing arts professionals, dancers and choreographers in Australia and around the world.
Tobiah Booth-Remmers is a freelance dance creator, performer, teacher and facilitator from Adelaide, Australia. He has worked with Garry Stewart, Graeme Murphy, Branch Nebula, Brink Productions, Larissa McGowan, Lina Limosani, Gabrielle Nankivell and Paulo Castro among many others. Tobiah has performed in major arts festivals including the Adelaide Fringe Festival, Adelaide Festival of the Arts, Brisbane Festival, WOMAD, Dance Massive, Dublin Dance Festival and has performed at the Barbican Centre in London.
As a dance maker Tobiah has choreographed numerous commissioned and self-produced works, including large immersive, site specific and more traditional format performances. Tobiah has lectured and taught dance to students at Adelaide College of the Arts, LINK, WAAPA, QUT, Transit Dance and at SDC Pre-Professional Year.
Tobiah also regularly works overseas and has received residencies and made work in Bulgaria, Brussels, Sweden and Greece. He has taught workshops on his own creative and movement practice in Belgium, Bulgaria, Greece, Italy, Portugal, Sweden, France and Israel.
Lewis Major is a choreographer from the deep south of regional South Australia. Not having set foot in a theatre until his mid-teens, he finds it ironic to now be working in the most maligned and misunderstood sector of the arts industry: Contemporary Dance. He's the only dance artist he’s ever heard of who cannot only shear a sheep, but has danced alongside Hugh Jackman and travelled to all three axis-of-evil countries.
As a performer and maker, Lewis has worked with Akram Khan, Sidi Larbi Cherkaoui, Russell Maliphant, Shaun Parker, Hans van Den Broeck/Cie Soit, Australian Dance Theatre, Hofesh Shechter and was a founding member of Aakash Odedra Company.
Unabashedly audience-driven, his work remains in repertoire of several European companies and has been presented by, amongst others, Aarhus (Denmark); Sadler's Wells, The Royal Opera House, The Place (UK); Festival de Mayo (Mexico); La Comete, Centre des Arts Enghien Les Bains, La Maison de la Musique de Nanterre, Maison des Arts de Creteil (France); Grand Théâtre de la Ville de Luxembourg (Luxembourg), PUSH Festival (Canada); Impulstanz Festival, Ars Electronica Festival (Austria); TED Global (Brazil) and TEDx London; Esplanade Theatres (Singapore); Lyric Theatre (Hong Kong) and the Baryshnikov Art Centre (NYC).
Erin Fowler is an Australian artist and producer working across the dance, music, film and theatre industries. Erin’s choreographic work includes FEMME, which premiered at the 2019 Adelaide Fringe (and won the overall Best Dance Award), and toured to the 2019 Reykjavik, Edinburgh and Stockholm Fringe Festivals. It recently won the “Made in Adelaide” award at the 2020 Adelaide Fringe. Other works include Gen-y (2018) commissioned for the Adelaide Dance Festival; Epoch (2016) created on Australian Dance Theatre for their Ignition season and the dance film, Gaia (2014), which she made in collaboration with filmmaker Nick Graalman and which has currently screened in over 23 international film festivals. Gaia won numerous awards on the festival circuit including 'Best Experimental' at the London Film Awards and the Byron Bay Film Festival. Her performance work includes seasons with BalletLab and Patch Theatre Company.
Erin regularly teaches movement to the Flinders acting students and for the State Theatre Company. Erin also works with holistic movement practices and philosophies. She is a certified Qoya feminine movement teacher and also facilitates women's circles which allow women from all walks of life to connect with one another in community and sisterhood. Erin is also the Co-Founder of The Mill, a creative hub for Adelaide’s local artists.
