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.
Yana Lehey’s Face Up is a series of large-scale watercolour portraits of youth climate activists presented at The Mill for SALA Festival 2020. Inspired by the energy and drive of youth climate activists 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.
Image: Yana Lehey, Face up (installation view), 2020, Photographer: Morgan Sette.
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 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
Artist statement
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.
Image: Yana Lehey, Greta, 2020, watercolour on 300gsm montval paper, 2000 x 1500. Photographer: Morgan Sette.
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.
The Mill Showcase is a gallery space dedicated 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.
Image: (L) Maps: Tailored Vulnerability, and (R) Ephemeral Pride.
Andrew Eden
AG is an Adelaide based design studio led by Andrew Eden. Specialising in furniture, lighting & interiors, the studio produces high quality pieces & outcomes that are competitively priced.
Andrew is exhibiting a number of pieces of contemporary furniture in The Mill Showcase.
Image: Tasmanian devil, Numbat and Spotted Quoll sculptures.
Blake Canham-Bennett
Blake “Blakesby” Canham-Bennett is a multi-award winning hatter (he is not a milliner), and one of very few in Australia reviving the traditional artform of men’s hats.
Blake is exhibiting a series of hats which feature unique handmade details.
Mark Mason
Mark Mason works primarily as a tattooer, using handpoke techniques to create new and relevant work.
Mark is exhibiting a group of four new works on paper in the Mill Showcase.
Image: FLC (Frame Lounge Chair), and Sly Table.
Annabel Hume
Annabel Hume is a visual arts graduate from the University of South Australia with a major in sculpture and printmaking.
Annabel is exhibiting a series of bowls and sculptures that feature Australian animals.
Image: Beaver Fur Sombrero Cordobes, and Tangerine Fedora.
Our Lady: en feu (Notre Dame: on fire) is a significant new body of work by painter and colourist Kirsty Martinsen. Inspired by the images of Notre Dame Cathedral ablaze in 2019, the work explores powerful moments within recent history: the #metoo movement, recent political conflict, human-induced climate change, the Australian bushfires, and most recently COVID-19.
Image: Flèche en Fue (je T’aime), 2019, pastel on earth ground on paper, 24cm x 32.5cm framed (Photographer: Alex Makeyev).
Our Lady appears with pastel drawings of the Notre Dame fires, all individually framed by Tom Borgas, and others of the Bushfires, Australian Native Flowers series, and Chernobyl and Gaza as examples of a human population hellbent on destruction. The scale of these disasters are totally diminished by the enormity of what is happening to the world currently. The burning of an 800 year old church is almost trivial in the face of a worldwide pandemic that has irrevocably altered everything. This body of work is an invaluable memento of life as we know it that’s gone forever. It questions what humans actually respect and value, and the state of the anthropogenic world we live in.
⏤ Kirsty Martinsen
Artist statement
I’ve been a painter for 20 years and consider myself a colourist. I’m interested in the issues of climate change and human relationships. ‘Our Lady: en feu’ is a series of recent drawings that began when I saw the colourful flames and smoke of the burning Notre Dame cathedral. I immediately connected them to the naked crucified woman I was working on. The naked figure was for me a burning spire. Witnessing the spire and cathedral burning, a Parisian bystander said it was “significant beyond its religious meaning”. I was left pondering how the world would be today if Jesus was a woman.
Image: Flèche en Fue III, 2019, pastel on earth ground on paper, 33cm x 45.5cm framed (Photographer: Alex Makeyev).
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.
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 nurtures the ecology of dance in SA.
Recent Adelaide College of The Arts Graduate Jacinta Hriskin is the 2020 recipient of Dance Launchpad.
Jacinta (Jazz) has been working with three local choreographers; Tobiah Booth Remmers, Lewis Major, Erin Fowler and videographer Chris Herzfeld/Camlight Productions.
The process has resulted in three short solo works for Jazz and a professional showreel, which you can watch below.
Dance Launchpad was a brilliant opportunity that came about as a result of Covid-19. Initially, it was such a pleasure to physically work face-to-face in a studio environment and connect with local dance artists here in Adelaide.
Working with three different choreographers opened me up to the variety of ways that people work and run their creative process. Each choreographer was unique in the way they produce material and used concepts such as imagery, brainstorming, research and improvisation.
The filming day was a successful experience in a very professional environment. I witnessed and got involved with the behind the scenes aspects of performing. This involved theatre setup and packdown, as well as working with a schedule and coordinating lighting and set designs. I was elated to be on a stage again and perform the works.
The editing process of the footage taken by Chris Herzfeld was another great learning experience. It encouraged me to be decisive, choose key points and find effective transitions for my showreel.
The whole program was extremely valuable to myself as an emerging professional dancer. It is the perfect platform to promote networking with the industry and establish myself as an artist in Adelaide.
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.
In keeping with the Adelaide Fringe’s open-access approach, The Mill housed another un-curated season in 2020. Our venue was made available to artists from any discipline to present work of any genre.
Our program consisted of 90 shows from 16 local, national and international companies.
Venue hire was kept as low as possible in order to minimise risk for artists trying something new, and 100% off door sales went directly to performers.
Abattoir Noir
Theatre
A wildly entertaining cabaret-style expose of the cruel practices inherent in the meat industry.
"Infuriating, sad, numbing, funny, shocking... ethically confronting but doesn't ever forget to entertain" - Bendigo Courier.
"A strong, DIY aesthetic meets true artistic commitment and the highest levels of technical expertise" - Jane Crawley, Creative Victoria.
Winner of the Adelaide Fringe Sustainability Award presented by Visualcom.
The apocalypse is over. The last woman alive has been rescued by unknown alien benefactors. But she has no way of explaining to them that if they want her to survive, they're going to have to feed her.
A new one-woman show about what will be left, after.
The Bakers
Circus and Physical Theatre
Three bakers, one bakery! Dough up the walls, flour in your eyes. Join The Latebloomers, award winning creators of 'Scotland!', for another dose of the ridiculous and the sublime.
★★★★ "This is top drawer slapstick that will leave you wanting an encore" The Advertiser.
★★★★★ "Truly perfect comedic timing" FringeFeed.
Winner Best Comedy weekly award Adelaide Fringe 2019.
Aggy & Frederick may be self-loathing, socially anxious and addicted to food, but that's just the tip of the iceberg. With Aggy once again falling for the wrong guy and Frederick's most fulfilling connection being with his internet provider, they review the best (and worst) moments of their past relationships. 'Boys Taste Better with Nutella' uses comedic storytelling, kitsch dance moves & hazelnut spread to explore relationships and self-worth.
Awarded FRINGE WORLD 2019 Weekly Award for BEST THEATRE.
Locked in a room for nine months in a house she once called her home. A poignant ode to Ireland's hidden past, the audience is invited to witness and journey with this forsaken Daughter of Ireland.
This work was developed through research about church and state-sanctioned abuse against women in Ireland over the last 100 years. It is an experimental and challenging performance, which hopes to give a voice to those silenced.
The year is 2020 - the human race is almost completely extinct, robots now rule Earth, controlling our every move. One man was too lazy to ever catch up with technology, could he be our only hope? Could he be the one to accidentally start the resistance?
Join Eddie Ray on this part cabaret, part action movie adventure.
HarleQueen
Comedy
Winner of the Adelaide Fringe Emerging Artist Award.
A vaudevillian-style, one-woman celebration of female fools. Join the 'HarleQueen' on a journey through the history of women who blazed a trail in comedy!
"The breath of fresh air that we didn't even know we needed" - Art Murmurs.
"Our indisputable Queen of Fools" - Theatreview.
WINNER: Best Comedy Dunedin Fringe, Adelaide Tour Ready Award NZ Fringe.
Lenka
Music
Lenka is an Australian singer/songwriter, formerly of the band 'Decoder Ring', who has been releasing solo albums and touring worldwide. In 2019 Lenka visited Adelaide as part of the Pub Choir phenomenon on tour with Ben Lee.
2020 will see Lenka release 'twin' EPs, one with covers and one with originals and embark on an Australian tour.
Lucy & Me
Comedy
Sphenn and Lucy (his red bicycle) are the bestest of buddies. They do everything together from brushing their teeth to yoga, but after Sphenn loses his job in an unavoidable accident, these two need a job and fast! Luckily they're very inventive...This show is the sweetest of love stories, all rolled up in outrageous comedy.
"What a delight. The world building is so impressive, the comedy so well thrown, this piece pelts along like no-hands down a hill." - Sydney Arts Guide
The Monster
Music
Exclusive invitation to be part of Phillip Lee Curtis' live listening party where you get to play a part in the making of an album! An interactive night of original songs and stories.
Winner 2019 Adelaide Fringe Emerging Artist Weekly Award.
"A powerful beyond belief performance" StageWhispers.
"A masterful performer" Australian Arts Review.
Moof’s Adventures
Theatre
Moof is fairly regular. It might be the prune juice. He, and his life, are perfectly ordinary. But he can't help but ask himself... is this all there is?
Back Porch Theatre is proud to present this absurd, joyous and abstract ode to courage in its world premier from Adelaide theatremaker and clown, Lochy Maybury.
This is the story of Nunny. Nunny loves plastic more than her mum and her future husband combined. She lives a life of plastic wrapped bananas, triple bagged groceries and her ultimate dream is to become a top of the line Tupperware lady.
'Plastica Fantastica' is a ridiculous award-winning one woman show performed by Jennifer Laycock.
It is a time of extremes... An immersive prologue reveals a dark and disturbing world not so far from our own. May is a photographer who must document dissenters who have 'rebelled' against the Organisation, an authoritarian regime.
This is the South Australian premiere of this award-winning play inspired by the history of Cambodia's S-21 prison.
Kristen's been having nightmares. This place is burning and it's all her fault. Best that she hijack her friend's dream and journey through the womb for answers! How to exist as a person born of a culture that profits from the denying of another? How do we go home when the house is a stolen one? Rip it up. Rip up everything we think we know.
Voices of Joan
Theatre
Now more than ever we need to draw inspiration from the galvanising wisdom of rebels; the people who are not afraid to speak truth to power and have the courage to take action.
In this intimate solo performance, actor and theatre maker Janie Gibson delves into the past to invoke the spirit of Joan of Arc and unearth the damning voices of her oppressors in a spell to dissolve the patriarchy.
A "beautifully vulnerable" semi-autobiographical verbatim play examining social justice through the lens of fatism, fatphobia, and discrimination. "Inspiring, brave, authentic, educational and confronting", 'Wellness' aims to open up taboo conversations and question well-meaning motives around us.
Written by Ella Arendelle, we touch on sensitive subject matter and deeply personal stories. Verbatim theatre has a sting that can't be matched.
The WFT?! Show
Comedy
According to the Guinness book of facts, falsehoods and frivolities, Milton White, JNewtz & Mick Moore provoke you to look at things a little differently in our crazy 1st-world-problem "I'm Offended" lives.
They're not looking to educate, exploit or offend however if they do, you only have yourself to blame for going!
Being offended is a part of life. Being dead, is part of being dead. So enjoy being offended to know you're still alive.
Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta
Cost: Free
Please join us in The Exhibition Space for Our Lady: en feu, a solo exhibition by Kirsty Martinsen.
***The Mill’s exhibition space will be open to the public from June 15, please observe social distancing and make sure to practice good hygiene. ***
Our Lady: en feu (Notre Dame: on fire) is a significant new body of work by painter and colourist Kirsty Martinsen. Inspired by the images of Notre Dame Cathedral ablaze in 2019, the work explores powerful moments within recent history: the #metoo movement, recent political conflict, human-induced climate change, the Australian bushfires, and most recently COVID-19. Kirsty uses her medium to comment on our individual and cultural responsibility to the world we live in. The centrepiece, and namesake of the exhibition is a life sized portrait of a woman in crucifix position. Kirsty draws our attention to humanity and fragility while simultaneously recognising the role that humans have played within these disasters.
Kirsty’s use of colour and gesture is emotive, highlighting the urgency that she feels to draw attention to these profoundly affective events. Within each work she captures fleeting moments, a whip of flame enveloping the spire of the cathedral sits alongside a glowing Sturt Dessert Pea, pointing toward the sacred, which can be found in many forms. Through this series of works, Kirsty questions ‘what we as humans respect and value and the state of the anthropogenic world we live in’.
I’ve been a painter for 20 years and consider myself a colourist. I’m interested in the issues of climate change and human relationships. ‘Our Lady: en feu’ is a series of recent drawings that began when I saw the colourful flames and smoke of the burning Notre Dame cathedral. I immediately connected them to the naked crucified woman I was working on. The naked figure was for me a burning spire. Witnessing the spire and cathedral burning, a Parisian bystander said it was “significant beyond its religious meaning”. I was left pondering how the world would be today if Jesus was a woman.
Our Lady appears with pastel drawings of the Notre Dame fires, all individually framed by Tom Borgas, and others of the Bushfires, Australian Native Flowers series, and Chernobyl and Gaza as examples of a human population hellbent on destruction. The scale of these disasters are totally diminished by the enormity of what is happening to the world currently. The burning of an 800 year old church is almost trivial in the face of a worldwide pandemic that has irrevocably altered everything. This body of work is an invaluable memento of life as we know it that’s gone forever. It questions what humans actually respect and value, and the state of the anthropogenic world we live in.
Kirsty Martinsen has had a studio at The Mill since 2014. Her practice is predominantly drawing and painting, and recently as a Writer/Director of the short documentary, Limited Surrender, with SBS and SA Film Corporation. She has a BA Visual Art from SA School of Art (UniSA) and Dip. Painting from New York Studio School of Drawing, Painting and Sculpture, has exhibited in USA, Australia and Amsterdam, and is the recipient of awards from Richard Llewellyn Arts and Disability Trust, Arts SA, AGNSW and NY Studio School. Her short film, Breathe, won the Mercedes Matter/Ambassador Middendorf Award at X Marks The Spot: Women of The NY Studio School, the 2018 Alumni show. She teaches drawing and enjoys watching clouds.
View short film documentary about Kirsty’s practice via SBS On Demand:Limited Surrender
The Mill’s Writer in Residence program is focused on fostering arts writing and criticism by emerging arts writers. This year The Mill will partner with Fine Print magazine for writing and editing support and with Scotch College for an additional Writer In Residence educational program.
Jess Martin is a non-fiction writer, multi-disciplinary artist, producer and arts worker. As a critic their work has been published in Fest Magazine, Buzzcuts, On Dit and dB Magazine. Jess has a strong interest in experimental performance, dance and theatre. They also write creative non- ction in the form of personal essay. In their writing Jess has a clear voice which captures strong visual imagery, a sense of gestural motion, and unexpected wit. Jess's artistic practice involves working primarily with textile sculpture in relation with the body, informed by themes of phenomenological exploration, regional landscapes and communities, and queer identity. In 2018 Jess participated in Vitalstatistix's Adhocracy residency and performance festival with lead artist Alaskan First Nations dancer Emily Johnson, contributing spoken word and site speci c performance. In May this year they took part in the UNESCO Riverland Biosphere Soundscape Lab at Calperum Station, lead by sound artist Jesse Budel. Most recently Jess has worked with Japanese-Australian contemporary artist Hiromi Tango at Splendour in the Grass facilitating the Hiromi Hotel: Brain Flower project space. They also participated in process driven dance performance at Hiromi Hotel lead by artists from Hobart based DRILL dance company and Adelaide based Motus collective. Jess has studied media, politics and art history and is currently working as a moderator at MOD. and as a freelance writer and artist.
