gallery I

public program, masterclass series, gallery I

Workshop: Yarning Circle with Marika Davies and Natalie Austin

Image: Marika Davies with Natalie Austin’s Opal Painting.

Workshop: Yarning Circle with Marika Davies and Natalie Austin

This is a special event for folks who identify as non-binary or women.

When: Saturday, July 30, 11am-12pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: $15 (+ booking fee)

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

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

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

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


The Mill invites you to join us for an intimate yarning circle with exhibiting Antikjrita artist Natalie Austin and Wangkangurru woman and independent curator Marika Davies.

Natalie will have a chat about her work and Marika will keep our hands busy with some weaving while chatting about her role as exhibition curator. We'll also have some tea and biccies!

About the exhibition:

Memory of Water by Antikjrita woman Natalie Austin speaks of the artists connection to Country as motif within her life. Natalie traces her life from child, teen, mother and now grandmother and the meaningful role that water has in her understanding of self, Country and community. Natalie has worked with Wangkangurru woman and independent curator Marika Davies to develop this exhibition, an inaugural collaboration between The Mill and regional South Australian Aboriginal artists. The exhibition will be accompanied by a catalogue essay written by Yankunytjatjara / Kokatha woman and well-known poet Ali Cobby Eckermann.

Memory of Water is presented in partnership with Ku Arts, Ripple Effect/HumanKind and City of Adelaide.

public program, gallery I

Exhibition: Natalie Austin, Memory of Water, curated by Marika Davies

Artwork: Camping Along the Creek, Natalie Austin

July 18 - September 16, 2022

Opening event: Friday, July 29, 6-8pm

Opening hours: Monday-Friday, 10am-4pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


This SALA The Mill presents a new solo exhibition, Memory of Water, by Antikjrita woman Natalie Austin, supported by Wangkangurru woman and independent curator Marika Davies. Natalie speaks of the artists connection and relationship to Country as motif within her life. Natalie traces her life from child, teen, mother and now grandmother and the meaningful role that Country has in her understanding of self and community. She says ‘painting is my passion and gives me peace.’ Natalie has worked with curator Marika Davies to develop this exhibition, an inaugural collaboration between The Mill and regional South Australian Aboriginal artists.

Memory of Water is presented in partnership with Ku Arts, City of Adelaide and Human Kind Studios. The exhibition has also had generous support from Ursula Halpin at Port Pirie Regional Art Gallery.

  • The exhibition is mostly about Coober Pedy, where I come from and where I grew up. I usually do my artwork with the white dirt, the brown dirt and the colours of the opal. These paintings also have the wildflower colours that come out after a big rain, it’s very pretty.

    The first painting is about water, about the creek. But the group of paintings are about connection to the country.

    My inspiration is my mother, she was with the Coober Pedy kupa piti kungka Tjuta who protested the nuclear waste dump in the 90’s. She’s been painting most her life and she’s 89 now. She taught me to paint, and it is something that I share with my daughter and my niece. They sit and watch me paint and do their own thing.  

    Marika Davies is a great help, she’s given me the opportunity to exhibit including in Malka [arts prize at Yarta Purtli, Pt Augusta]. She is a lovely person to work with. It helps to have someone to push me in the right direction. I paint and she organises things to get my paintings out into the word.

    I’m excited to be able to show the works in Adelaide. I’m happy to have the works shown and share about my country and the colours and the stories.

  • Natalie Austin’s ‘Memory of Water’ is an important exhibition. The paintings are about being on Country and being with family. She shows the opal fields and the desert, as well as the desert flowers that bloom after rain. You can see the white throughout all the paintings, which is the colour of the stone layer that holds the opal in the earth. The colours that Natalie has used are the colours in the veins of the white stone, the glistening of the opal. This is part of Natalie’s Country, her family’s Country. Connection to Country is not just what is on top, its also what is underneath. People think of Opal as being about making money, but it is so much more than that. Digging the holes to make mines disrupts Country.

    Natalie’s mum is 89 this year, and has been a major influence on Natalie. I would love to see her be able to come and see Natalie’s exhibition, and see what Natalie learned from her on a wall in a gallery space, and the sense of pride that both Natalie and her mum would have. Natalie took on the skill of painting from her mum and has been painting for close to 30 years. That’s how kids learn, from their elders and parents. Your parents are your first teachers. Natalie is a grandparent now and for her children and grandchildren to be able to see her first solo show could inspire the next generation of Natalie’s family.

    As a curator it is important to be able to showcase our region, Port Augusta and the mid North. Natalie has been painting for a very long time and she is really happy to have a solo. Audiences can come in to The Mill from anywhere and realise that this artist is just a 3 or 4 hour drive up the road from Adelaide. You can see the painting, the colours and the shapes in the gallery, and you can visit the landscape and see the story of the Country.

    It’s really important to see First Nations Artists share their work. There are brilliant artists out there that should be recognised. After contacting Natalie to invite her to exhibit, the first issue was getting materials to her. It’s a low socio-economic region and artists can’t just go into the shop and buy quality materials. Ursula Halpin at Port Pirie Regional Gallery helped with some materials and Ku arts came with more. Access to materials is an issue throughout the region, there are artists that have artworks that they’re ready to make, but they don’t have access. And often what they can get are cheap canvases that easy break, which really devalues the artworks. This region produces world class artworks, and It’s such a great thing to work as an independent Curator with artists, and collaborate with a gallery like The Mill, and with support from Ursula and Ku Arts to create opportunities to upskill and make the incredible works they are ready to make.

    I knew of Natalie when I was 16 and just starting out. Then I connected with her last year, I am now 42 and I finally get to work with her- it was just meant to happen!

  • Artist Natalie Austin was born in Port Augusta, South Australia, in 1964 and grew up in Coober Pedy. She is a descendant of the Antikirinya, Southern Kokatha and Yankunytjatjara peoples. Austin was taught to paint by her mother and has been painting for nearly thirty years. Her work was featured in the Malka Art Prize at Yarta Purtli in 2022 and 2020. She has contributed to the Tarnanthi Art fair at Tandanya from 2017-2019. Other exhibitions include 'Our Mob’ at the Adelaide Festival Centre and the 2008 'Ripples in the Sand’ exhibition at the Port Augusta Cultural Centre, ‘Coast to Coast’ at Fischer Jeffries for SALA, and the Sydney International Art Fair 2019.

  • Curator Marika Davies is a proud Wangkangurru woman of the Simpson Desert, Birdsville area. She is an emerging artist and independent curator currently living and working in Port Augusta, South Australia. Her interest in pursuing a career in the art industry developed organically through her love and passion for art and its history, and wanting to give back to her community in Port Augusta who nurtured her passion and cultural growth. She is intent on a curatorial career continuing her history of work within the community.

    Marika is a talented storyteller, finding new ways to tell stories through curating, painting, jewellery making, photography, radio and film. Currently Marika is undertaking a mentorship with Tarnanthi Festival Director Nici Cumpston OAM and Port Pirie Regional Art Gallery Director Ursula Halpin. 

    In 2018 and 2019, Marika undertook a curatorial internship for VIETNAM: ONE IN, ALL IN, where she actively assisted throughout project development, gaining experience that helped to springboard her career as an emerging curator.

    In 2019, Marika attended the Darwin Aboriginal Art Fair as part of the Aboriginal Curators Program and Symposium. 

    Marika attended the Port Augusta Emerging Film Development Program workshop and was co-director / co-writer for Mulka Man, which was screened at Nunga Screen, 2020. She co-wrote Dusty Feet Mob: This Story's True and filmed Full Circle | Marika Davies | indigiTUBE.

    More recently Marika undertook a Podcasting for Beginners Workshop an initiative of the South Australian Film Corporation (SAFC), Country Arts SA and Riverland Youth Theatre, delivered by experienced First Nations mentor Raymond Zada. In September 2021, Marika’s podcast was aired on the ABC radio. Fresh new podcasts by South Australian First Nations storytellers | indigiTUBE


public program, gallery I, gallery II

Exhibition: The Mill Showcase, Kirsty Martinsen, 'Bodiness: Call and Response'

Artwork: Kirsty Martinsen.

May 2 - July 1, 2022

Kirsty Martinsen and Erin Fowler

Opening event: Friday May 13, 6-8pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


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.

This Eighth edition of The Mill Showcase, Bodiness: call and response is a collaboration between painter Kirsty Martinsen and dancer Erin Fowler. The exhibition further develops ideas begun in 2016 when Kirsty collaborated with NY-based theatre maker Erwin Maas creating a work based on the experience of ‘otherness’ as a disabled woman.

The exhibition is part retrospective, including works spanning a 21 year period, alongside new works and works in progress. This significant exhibition follows the evolution of Kirsty’s practice, from large format drawings and paintings through to recent smaller scale works and a new work to be created in situ with Kirsty using her wheelchair as a tool to draw across a working surface on the floor.

We also welcome award winning theatre-maker, dancer and singer Erin Fowler to collaborate with Kirsty in a ‘Call and Response’ performance that extends the relationship between the body, movement and gesture as explored through Kirsty’s ourve. Erin was a Co-Founder of The Mill, she and Kirsty have had a long term creative relationship since connecting here back in 2014.

  • “That tangle of limited surrender/ Is the human mire. We’re sodden in bodiness.” - Rumi, The Ground’s Generosity

    People say to me ‘you are so much more than your body!’ What does that even mean, nay look like? Living with MS has taken an emotional & psychological toll, but all people see is the physical, the body. I feel like I’ve lost who I am in a chasm of loss and grief and bureaucracy. I have had to fight to keep my spirit alive. We are all much more than our flesh. My work seeks to explore the ways in which difference is a site for connection, the body is a site for potential, and process is a site for emotional/psychological/spiritual exploration.

    My work invites audiences to consider process, gesture, scale, materiality, movement, and collaboration. Through this exploration myself and Erin will be responding to these aspects in each other’s work and locating intersections of commonality. Erin’s rich spiritual practice contributes to a dialogue about body, spirit and notions of ‘self’ which echo my exploration of Bodiness.

  • 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

    Erin Fowler is an award-winning Australian artist and producer working across dance, music, film, cabaret and theatre. As a performer, Erin blends together an eclectic mix of contemporary dance, feminine movement, clowning, cabaret and martial arts. Erin’s choreographic work includes solo works EGG (2021, Weekly Best Dance Award, Best Dance Hollywood Fringe, 2022 NZ Tour Ready Award), and FEMME, (2019 Adelaide Fringe - Best Dance Award, 2020 Adelaide Fringe – Made in Adelaide award). 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 acclaimed environmental dance film, Gaia (2014, 'Best Experimental' London Film Awards and Byron Bay Film Festival). Erin is a certified teacher of Qoya - a holistic movement practice for women, and is also the Co-Founder and previous Artistic Director of Adelaide arts organisation and studio, The Mill. Erin is also the founder of The Gaia Movement - a non-for-profit platform for people around the world to collectively make lasting, positive impact for the planet and climate change, through global schools’programs, tree planting, and arts projects.

public program, gallery I

Exhibition: Tarsha Cameron and Tailor Oriana-Julie Winston, One

Photo: Alice Healy.

May 2 - July 1, 2022

Opening hours: Monday-Friday, 10am-4pm

Finissage & performance: Friday July 1, 5:30pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free, limited tickets

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


Continuing our focus on Visual Arts collaborations in 2022, The Mill is excited to present One, a new exhibition by emerging multidisciplinary artists Tarsha Cameron and Tailor Oriana-Julie Winston. With an interest in developing relational connections and shared stories, Tarsha and Tailor will be developing a unique, evolving installation in the gallery. During the first ‘soft opening’ week audiences are invited to visit and witness the work in progress, share their responses and also contribute. With sculptural, installation, sound, photography, video, painting and textiles, One is an exploration of collaboration and connectivity.

  • The threads of connection

    Stay

    Forever present

    In our genes

    Across space and time

    And

    In our bodies; flesh and ethereal 

    Life is an entangled whole

    Connectivity surrounds us. It is more than just between you and I, but also between the moon and the stars, the trees and the sea; all living beings living in symbiosis with one another. Close your eyes and notice for a moment. Breathe. Feel it in the air. Feel it in you.

    One attempts to creatively explore and materialise the more complex and subtle forms of collaboration that occur in everyday life, yet remain hidden to our visual and auditory perception. We are in constant developmental flux with ourselves, nature, our immediate and distant surroundings; reciprocally invoking the law of cause-and-effect that expands across time, space and place.

    The process leads us into a philosophical investigation where everything co-exists, akin to an ecosystem with many differing identities that inform, inspire, and rely on the other. It is a continuous collaborative exploration as we respond to and negotiate nature, each other,  and our close and more remote environmental, historical and ancestral storylines. 

    Situated on Kaurna Yarta, One culminates as a work that is both fluid and organic, still, yet full of life . A reflection of the interconnectedness of existence.

  • Tailor Oriana-Julie Winston is an emerging interdisciplinary South Australian artist. Born on Kaurna Land to African/American and Italian parents, Tailor explores the experiences of the human condition from the perspective of a biracial woman. Using visual art, performance, and spoken word she seeks to use these platforms and a tool to open conversations exploring decolonisation, environmentalism, and spiritual identity. She invites the audience to journey within and openly engage with participatory elements of her works and explore interconnectedness through our stories and voices.

    Tarsha Cameron is an interdisciplinary performance art, theatre, and installation creator. Drawing, sound, video, performance, and sculpture media is used to explore the social construct, and the beauty that is within us, and in nature. Tarsha seeks to elicit empathy, understanding, compassion, and reflection to support movement towards positive personal and social change.


 

The Mill is supported by the South Australian government through Arts South Australia.

 

public program, gallery I, gallery II

Exhibition: The Mill Showcase

Photo: Supplied.

February 15 - April 14 2022

Mads Cooke, Andrew Dearman, Evie Hassiotis and Abby Potter AKA House of Campbell

Finissage

When: Friday, April 8, 5:30pm-6:30pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

  • Disability access is available via our Angas St entrance, and a disability toilet is also available. View our accessibility information page.


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.

This Seventh edition of The Mill Showcase features work by Mads Cooke, Evie Hassiotis and Abby Potter AKA House of Campbell.

About the artists:

  • House of Campbell was launched in 2019 by South Australian designer Abby Potter. Heavily influenced by the arts, Abby creates designs that celebrate and complement modern women, allowing them to make a statement and move effortlessly. Abby is committed to sustainable designs and pioneering techniques that allow all women to tell their story. With a background in bridal and costume design as well as production, Abby brings significant experience across design, craftsmanship and styling. Abby has presented locally, including Australian Fashion Week 2021, as well as internationally, most notably her first collection which debuted at New York Fashion Week in 2019.

    House of Campbell celebrates modern femininity. Featuring timeless and sustainable designs, House of Campbell blends couture and traditional tailoring techniques with ready to wear pieces to create something bold, intricate and unforgettable. With a focus on hidden details, our designs are created and draped in-house. These pieces make a statement and are made to last, making them a treasured addition to wardrobes today and into the future. House of Campbell’s Reverie collection features local Australian dyeing houses and is crafted by South Australian seamstresses. Our designs inspire, provoke and embolden. Rather than dictate who they should be, House of Campbell removes the rules and encourages women to be whoever they want to be. 

    Abby has been working at The Mill since 2020.

  • Mads Cooke is an Adelaide based Painter & Illustrator. Raised in the Adelaide Hills, Mads views the natural environment as a primary inspiration for her. Her work is composed of multiple layers of paint and lines to create a depth of foliage.

    Free forming shapes and colours create a soothing experience, reminding her of home and childhood memories. Drawing upon the environment, Mads’s work is commonly inspired by native flora, observed textures, colours & patterns. Natural and neutral colour hues play their part in the subtly of Mads’s work, where she creates a calming and dreamlike perspective of nature. Her practice is introspective work, and aspires the viewer to likewise engage in the meditative mood of these works.

    This body of work was created towards the end of last year, experimenting with both acrylics and ink pens in my observation of nature. The distinct use of flowing lines across these works are comparable to the candidly forming lines in the natural environment. The repetition of lines – reflective of the echoing patterns in nature.

    The lines sit both subtly in the background, or create soft organic shapes own their own. These lines are alike to ripples in water, age rings of trees, or the venation of plants. Individual lines representing little alone, collaboratively building a network, likewise of the natural world.

    I have recently been inspired by the detail of plants and flowers found in vintage botanical/ scientific illustrations. In my paintings I enjoy creating a similar style to these, in which the flora is depicted very flat and straight on, paying close attention on the finer details.

    Mads has been working at The Mill since 2021.

  • Andrew Dearman’s practice has varied over the years, moving from sculpture to painting to photography and back again.

    More recently I’m working on a hybrid art/academic research method that I find meaningful as a form of making. The construction of a conference paper is both a physical and conceptual process of gathering material, of shaping and polishing it into a particular form, which is then performed in front of strangers on the other side of the planet.

    The current work involves the use of the found vernacular photograph within contemporary art. It considers such use problematic and in need of deeper theoretical consideration from positions beyond the discourse of visual art. The fields that seem to be of most use are memory studies, sociology and anthropology.

    Andrew is an Alumni Artist.

  • For the last three years Evie Hassiotis has produced a variety of mixed media artwork while being a resident artist at the Mill. During this time she has held a SALA exhibition called Xenitia (exile) exploring her journey from Greece in the early 1960’s. She has also been attending mainly portrait workshops at ACSA and attending life drawing sessions on a regular basis at Gallery one. She loves to run small workshops in her studio for adults and children where participants can learn the basic skills of using various materials and also tap into creative expression.

    In my practice I am excited to see how art can transform a person and a place. I love art that challenges me and asks questions about the philosophy of life.

    In these latest art works I have experimented with the circular design, which has been a tool to let go of old patterns of behaviour about pleasing others. Working fast allows me to tap into my right brain and allow free flow and spontaneity.

    Evie has been working at The Mill since 2019.

public program, gallery I

Exhibition: Adrianne Semmens & Jennifer Eadie, Unravel

Photo: Supplied by the artists.

February 15 - April 14, 2022

Opening hours: Monday-Friday, 10am-4pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

Livestream Performance

When: Tuesday, April 12, 6pm online via The Mill's Youtube channel

Cost: Free, bookings essential

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


The Mill welcomes South Australian based artist and writer Jennifer Eadie and dance practitioner, Adrianne Semmens to present their collaborative project Unravel. Bringing together their distinct practices, Jennifer and Adrianne have developed a sensitive and reciprocal working relationship. The work is multidisciplinary and lends itself to re-configuration and re-generation, with this instance unfolding within the context of The Mill’s Exhibition Space. Poetry, movement, fabric and plant materials stand in relation to each other, exploring what it is to see, feel and consider self and place.

  • If place is understood as something lived/ how do we speak of

    it/ without causing a fracture?

    There is vulnerability when we

    say: I too am part of that place/

    too many colours/ it is not

    something that can be held/ always unravelling.

    The body of work in this exhibition explores relationship to place.  Embedded in the work is our acknowledgment of Country, always aware that our practice and processes are created on and with Kaurna Yarta.  

     What if authentic relationship to place is an act of opening that fractures a stable sense of identity? What tensions that arise when we, with mixed heritage, attempt to articulate a sense of connection or belonging to land that is not our ancestral country.   

    Any attempt to enact this connection or belonging demands an acceptance that we will be constantly giving, losing, reorientating ourselves in order to negotiate - make meaningful, make respectful - this relationship with country that is not ours. 

    UNRAVEL responds to these questions indirectly, as a means of acknowledging the difficulty and complexity of not being able to articulate a resolute response to the themes, despite being so important to us.

    The exhibition is grounded by natural elements and textiles as a gesture, hands outwards, continuing lineage to country. 

  • Unravel is a collaboration between South Australian based artist and writer Jennifer Eadie and dance practitioner, Adrianne Semmens. Jennifer and Adrianne were recently awarded a Delving into Dance/Critical Path Commission (2020), and undertook a collaborative Breakout Residency at The Mill (2020/21).

    Jennifer Eadie is a writer, academic and artist living on Kaurna Yarta in South Australia. She grew up on Taribelang Bunda Country and has European-mongrel heritage. Her creative practice is interdisciplinary and place-based. Her collaborative work with Adrianne Semmens explores the relationship between identity and place. Her individual practice is motivated by the capacity of post-invasion Australia to censor the multiple histories, agencies and stories that are embedded in place. Via text,  installation and performance, her work aims to respond to and undermine this censorship. Jennifer's work has been shared with TEXT Journal, CORDITE, criticalpath, Educational Philosophy and Theory, The Mill and Kudos Gallery: jennifereadie.cargo.site | @vito_the_saint_of_lost_dogs

    Adrianne Semmens is a dance practitioner and descendant of the Barkindji People of NSW. Explorations of identity and place continue to be recurring themes within her practice, evident within her own work and ongoing collaboration with Jennifer Eadie. Choreographic highlights include Immerse, commissioned by Australian Dance Theatre whilst Adrianne was the company’s 2021 Associate Artist, and Thread (2020). Adrianne works closely with Tjarutja Dance Theatre Collective led by Gina Rings and has enjoyed performing in Inma, Our Corka Bubs and the 2021 Tarnanthi Festival opening event. Adrianne continues to be engaged in many education and community projects, such as co-founding the First Nations Choreographic Lab in 2021 and previous role with The Australian Ballet as a Dance Presenter for their Education Ensemble:  adriannesemmens.com | @adrianne.l.semmens

Photo: Daniel Marks.

 

Unravel is supported by City of Adelaide

 

The Mill is supported by the South Australian government through Arts South Australia.

 

public program, gallery I

Exhibition: CHARTS Community Housing Arts Awards South Australia

Artwork: Annette Cassano, Self portrait, me and art.

January 11 - 28, 2022

Opening event: January 14, 6-7pm

Where: Livestream

Cost: Free

  • Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


The Mill is thrilled to open our 2022 Visual Arts program with the CHARTS prize exhibition, a celebration of the inaugural Community Housing Arts Awards, South Australia. Created to celebrate and showcase the creative diversity, and depth of talent within tenants of community and social housing, the exhibition features painting, sculpture, photography, digital art and writing.

The CHARTS exhibition will feature a curated selection of work by finalists, on display to the public in The Mill’s two galleries. The prize received 170 submissions across eight Community Housing Providers, with artworks from established, mid-career and emerging artists, and those who have never picked up a paintbrush, pencil or camera in their life! The CHART awards night was held at Adelaide Town Hall on 11 November 2021, with each winner receiving a cash prize of $500 made possible by the generous donation from CHARTS major sponsors Harvey Norman Commercial and Electrolux.

Artists include Lily Abbott, Alissa, Rex Stuart Anderson, Leagh Bassham, Karen Beale, Sabrina Belfiore, Naomi Blake, Maxine Cannon, Annette Cassano, Annette Chand, Susan Cocks, Belinda Cole, Craig Finnis, Annie Fox, Lloyd Jackson, Caitlin Lenartowicz, Amanda MacLeod, Robert Martin, Chevon McKenzie, Amber Jayne Mills, Rosemary Milton, Anna Mohammadkarimi, Peter Pasfield, Jhalakman Rai, Elaine Roberts, Joy Sadauskas, Yonah Singira, Drew Sinton, Frankie Starling, Coral Strempel, Zachary Studley and Leonard Yarnold.

  • CHARTS is a joint project between seven different Community Housing Providers. It was established in 2020 to celebrate and showcase the art being made by tenants of community and social housing. CHARTS aims to provide opportunities for artists living in community housing to exhibit their work, build their skills and establish networks. It seeks to encourage them to keep making and to legitimise their practice, or be the point from which they launch their own art career. The works in this exhibition are all the finalists, as chosen by our independent panel of practicing artists who judged the CHARTS awards for us.


 
 

The Mill is supported by the South Australian government through Arts South Australia.

 

public program, gallery I

Exhibition: Frances Cohen, curated by Christina Lauren 'The Many Faces of Frances'


Acrylic painting with collaged features depicting the loss of a treasured pet.

Image: Self Portrait Without Daisy, 2021, acrylic, gap filler and collage on canvas, 1020 x 760mm.

November 8 - December 17, 2021

Opening event: November 26, 6-8pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

Accessibility: Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


The Mill welcomes emerging artist Frances Cohen and their new exhibition The Many Faces of Frances, curated by emerging curator Christina Lauren.

Drawing on identity politics, and underpinned by theories of the self, Frances’ portraiture explores what it is to know and to understand the complexity of one’s self. Frances uses found images alongside photographic selfies layered with thick paint and gap filler to create a textural surface where features of the portraits are obscured, slipping and displaced. The works are uncanny, evocative and emotional, conveying a sense of uncertainty and heaviness while also appealing to the empathetic recognition of the viewer, eliciting the question who is this portrait of, could it be me?

Frances and curator Christina Lauren have worked together to present this exhibition which invites audiences to consider conceptual underpinnings alongside Frances’ use of material and process. Within this, they have generously opened a discussion around mental illness, and in particular Borderline Personality Disorder, which Frances speaks about from a personal perspective.

Artist Statement
It’s hardly a ground-breaking revelation to say that all of us comprise a pastiche of everyone we’ve ever met. It is a well-known cliché that we are shaped by those around us, moulded through interactions with others that inform our worldview and our tastes. What is generally implied by this notion is that we have one overarching sense of who we are, with certain aspects of our personality being in flux as we move through life and have different experiences. I have always struggled to hold down my sense of self. I feel like I have been many different people to many different people; a different character tailored to each new audience member, worn like a mask. With that said, basic empathy also affords us the knowledge that each of us has their own mask; a face they present to the world that has been forged from a lifetime of hurt feelings and awkward encounters. I just seem to have accumulated a lot of them. Every character I’ve played has their own mask, forged through different lifetimes of impulsivity and self-destruction. Often it feels like I am wearing multiple at once; like I am staring out at the world around me from behind multiple numb layers of cracked plaster. Each of these paintings is a self-portrait. I am at the core of each one, hiding underneath the layers I find easier to heap upon myself, rather than deal with.

Curatorial Statement
'The Many Faces of Frances' unearths a truly vulnerable series of self-portraits created Frances Cohen. The series explores Frances' warped sense of self-image, where each painting seeks to survey the idea of a constructed personality, and complex emotions. Frances' diagnosis of Borderline Personality Disorder often presents within the work as a construction of different personas, which she says 'alter my outward appearance to try and hide the gaps in my personality'.

Frances’ portraits resonate deeply with the viewer through a balance of familiarity and alienness. The viewer recognises themselves in the self-portraits through universal feelings of sadness, numbness, anger and a sense of being lost. Frances' ability to capture sadness, particularly within the eyes of each portrait, is a stand-out feature. Where most painters use the eyes to promote connection and recognition, Frances paints exclusively around them. This provides a novel view, almost reversing the mirror of the portrait and asking the viewer to look outwards rather than within. What image do they project? What mask do they paint on top, to hide their painful depth?

Portraiture has long provided a relationship between ones-self and the subject, allowing for reassurance of some of our most difficult feelings. In a time of great uncertainty, it is natural to search for what it means to be human and what it means to have human experiences. The Many Faces of Frances seeks to do just this, while also fighting against the stigma of mental health, in particular Borderline Personality Disorder, which remains one of the most misunderstood diagnoses. Frances’ portraits provide insight into the disorder, challenging preconceived perceptions, and giving audiences the opportunity to recognise how emotions felt by those with Borderline Personality Disorder are not so far from their own.

Artist Biography
Frances Cohen is a painter living and working on Kaurna Yarta. She attended the University of South Australia, where she graduated with a Bachelor of Contemporary Art in 2020 and completed her honours year in 2021. She has previously exhibited work in Two Factor Authentication (2021), A Quarter Turn Around the Sun (2020), Friends (2019) and has contributed work to UniSA’s annual Art on Campus exhibition. She has also been published in Regurgitate (2021), Non-Compliant Quarterly (2019) and numerous editions of Verse magazine.

Curator Biography
Christina Lauren is an emerging curator and currently the Carclew Resident curator, as part of their 2021 Sharehouse program. Graduating a Bachelor of Contemporary Art in 2019, Christina implements her experience and knowledge as a visual artist into her curatorial practices, as well as allowing her passion for arts theory to guide her. She is a multi-media artist, currently working mostly in oil paint, exploring notions of the human condition and mental health. Christina has worked previously as a curator through City of Adelaide’s Emerging Curator program supported by Carclew in 2019, as well as launching a collaborative arts music project with Bad Habits Events in 2019, ‘Blossom Art Space’. Christina began her residency at Carclew in 2020, and has continued through to 2021. 

Christina has participated in numerous group exhibitions, including ‘Unwearable’ at Cloister Workrooms, Kaurna Land 2017, ‘Art on Campus’ in the West Oak Hotel, Kaurna Land 2018, 'Inevitable’ in Carclew House Foyer, Kaurna Land 2019, University of South Australia’s ‘Art on Campus’, Kaurna Land, 2019 and Mindshare SA’s ‘Mindshare 2021 Exhibition’, Adelaide City Library, 2021. Christina was awarded the 2021 SALA Contemporary Curator Award for her curatorial role in ‘Refractions’ at Carclew.

Painting of a woman using acrylic and collage to depict a self-portrait.

Image: Frances Cohen, Core Memory, 2020, mixed media on MDF, 46cm x 60cm Photo: courtesy of the artist

The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


The Mill's 2021 artistic program is proudly supported by BankSA Foundation.

The Mill is supported by the South Australian government through Arts South Australia.

public program, gallery I

Tarnanthi Residency at The Mill: Lilla Berry, STRNG WMN


Lilla holds her hands over her head, she has white paint striped on her arms and there are trees in the background.

Image: Lilla Berry, STRONG WMN.

September 27 - October 29, 2021

Artist Talk:
October 15, 5:30-6:30pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: $10 with a drink on arrival

Accessibility: Disability access is available via our Angas St entrance, and a disability toilet is also available. View our accessibility information page.


The Mill welcomes Yankunytjatjara woman, multi-disciplinary artist Lilla Berry as our second Collaboration & Mentorship artist in resident (CaM-Res), supported by City of Adelaide. Lilla has created this work through development time in The Mill’s Breakout space, mentorship with The Mill’s artistic team and the opportunity to collaborate with photographer Morgan Sette. Lilla’s exhibition celebrates her relationships with her community, through practicing dance, footy, weaving and the act of coming together. She has also collaborated with strong women, including Pearl Berry, Iteka Ukarla, Carly Tarkari Dodd, Mali Isabel, Amber Ahang and Kirsty Williams.

Artist statement:

The arts have always been embedded into my life. My family is made up of musicians and visual artists, and practicing art was something I just did when I was younger. Although using my body seemed to be one of the things I enjoyed most, whether that was dancing or acrobatics. As I got older and more influenced by others around me, the inherent idea that I was an artist shifted and changed. My practice moved towards a dance focus, as this was what I had the greatest opportunity to practice. However, as I’ve continued to develop as an arts worker, I’ve been able to tap into the other areas of my practice and continue to develop my skills across a range of mediums, and now have the confidence to articulate myself as a multi-disciplinary artist. Even if each discipline doesn’t get the same amount of my attention, they are equally as important and rewarding for me to practice.

I’m extremely excited for the opportunity to give these mediums more attention through my residency and exhibition. I will be working through painting, weaving, video and photography, as well movement, to explore the themes of the exhibition. My development as a curator will also be explored, as I not only curate my own works, but also those of other artists I will collaborate with.

STRNG WMN. will explore what it means to be strong Aboriginal women. Including culturally, physically and mentally. I have always been surrounded by strong women growing up. I was raised by a single mother, and as an athlete all of my team mates were strong women, being strong role models. And growing up watching other young Aboriginal woman dancing with Kurruru, I was so inspired by their strength in culture.

Through the facilitation of women’s circles, I will take the lived experiences of other women to inform movement to be captured on film, still images and installation. I want to capture the authentic voices of our community, and explore all the ways we as women find strength, as it comes in all different types of forms.

Artists Biography

Lilla is a Yankunytjatjara woman, multi-disciplinary artist, arts worker and producer. Lilla began her arts career at Carclew in 2014, and completed a secondment part time role with Country Arts South Australia as the Aboriginal Programs Associate Producer in 2018, and has contributed to a wide range of exciting programming.

In 2017, Lilla formed the Aboriginal cultural contemporary dance company Of Desert and Sea, alongside her fellow dance ensemble members. Of Desert and Sea explores themes relevant to the 5 Aboriginal women who make up the company. They have had

performances and workshops at places such WOMADelaide, Art Gallery of South Australia, Dance Rites at the Sydney Opera House, and their debut show Beautiful, presented in Tarnanthi, November 2019. Beautiful’s second season at Adelaide Fringe 2020 also received the Emerging Artist Award. In 2019 she received her first screen credit, producing Sansbury Sisters as part of the Deadly Family Portraits Initiative with South Australian Film Corp and ABC iView.

Lilla’s practice as an artist is multi-disciplinary, as she explores mediums including dance, weaving, painting, video and photography. Her artworks are representation of her own lived experiences, and those of her community.

Yankunytjatjara artist Lilla Berry smiles, she has brown shoulder length hair and wears a black top and cream dress.

Yankunytjatjara woman, multi-disciplinary artist Lilla Berry

The Mill’S CaM-Res program is presented in partnership with City of Adelaide

STRNG WMN. is presented in partnership with Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art

 
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The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


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The Mill is supported by the South Australian government through Arts South Australia

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The Mill's 2021 artistic program is proudly supported by BankSA Foundation..



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Exhibition Space Program 2022: Expressions of interest

For The Mill's 2022 Exhibition Space Program we have a particular focus on collaborative projects, and are seeking applications from duos and small groups who work in collaborative ways. These collaborations could be between artists, creatives, curators, makers, or projects that seek to collaborate with audiences.

Details

  • Exhibitions run for ~approx. 10 weeks (including bump in and bump out)

  • One Exhibition will be shown during Fringe Festival 2022.

The Mill is a growing organisation, and as such we are endeavouring to pay an artist fee of $2000 per project as well as modest production & public program costs, however this funding is unconfirmed. Before applying, please consider whether this project is viable for you without confirmation of these fees. And keep your fingers crossed for us!

In 2022 we will no longer be charging Gallery hire to artists in the Exhibition Space Program. Submitting a proposal is no guarantee of acceptance.

About The Exhibition Space

The Mill’s Exhibition Space is located on the Angas Street Window Frontage of 154 Angas Street. The gallery is a rectangle footprint with approx 16.4 linear m of hanging wall space, and 38.8 square metres of floor space. The Exhibition Space is oriented prominently at the front of The Mill’s building with a large window facing Angas Street. It sits adjacent The Mill Showcase gallery, The Mill's office and Creative Industry studio's. The Space has professional lighting, two projectors and a number of plinths are available for artists to use.

We want to make the application process easy to navigate, please don't hesitate to get in contact of you have any questions or need assistance. Email Adele at visualarts@themilladelaide.com

Applications due: Friday, September 24, 5pm

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Exhibition: Centre of Democracy, 'Stitch and Resist'


Image: Karen Blackwood, I'm Really Quite Cross

Image: Karen Blackwood, I'm Really Quite Cross

July 2 - August 6, 2021

Opening event: July 2, 5:30-7:30pm

‘Crafting change’ studio: Saturday, July 24, 1-5pm


The Mill welcomes The Centre of Democracy to present Stitch and Resist, an exhibition of contemporary craftivism. Bringing together 140 works by activists from all around the world, this project is an example of the agency of communities working with a shared goal. Each individual stitch comes together to create collective meaning that is multi layered, complex and gestalt. The artists exhibited as part of Stitch and Resist do not necessarily see themselves as artists, and perhaps didn’t think of themselves as activists either. The works are both political in their messaging, and in their creation, allowing individuals to create statements that are personally meaningful from within their own homes or as part of community group.

We hope that visitors will be inspired by what you see in the gallery, and encourage you to consider your own politics and values in relation to the works on display. We also invite you to join local craftivists for a special public program Crafting Change on Saturday July 24 where you can hear from Stitch and Resist artists, purchase a cross stitch kit, create a Stitch and Resist themed badge and listen to protest music with Dan Monceaux AKA DJ Sepia.

Artist statement 

This exhibition is the culmination of a year long project of the same name, in which the Centre of Democracy engaged with community organisations and groups, as well as with the general public, to discuss, and create works addressing a range of contemporary issues.

Stitch & Resist showcases craftivist pieces that vary in terms of skill level and artistic merit. Their significance lies less in these values than in the political work they do, the contribution they make to social change. Pieces that appear in the exhibition have been created in English, Arabic, and indigenous languages, and many address diversity, inclusion and equality. As well as functioning as vehicles for addressing contemporary social issues, the works demonstrate the fact that everyone can be involved in craftivism. Over 140 works have been produced by a large number of individuals, community groups, and partner organisations from across South Australia, Australia, and internationally. 

About the Centre for Democracy

The Centre of Democracy is a collaboration between the History Trust of South Australia and the State Library of South Australia. It showcases the people, ideas and movements that have shaped, and continue to shape, democracy in South Australia. Featuring treasures from the state’s collections, the gallery contents challenge visitors to think again about people and power.

Nikki Sullivan is Manager of the Centre of Democracy, a collaboration between the History Trust of South Australia and the State Library of South Australia. 

Britt Burton is the Public Programs Coordinator for the History Trust of South Australia and the Centre of Democracy.

click through to see the Stitch and Resist Gallery

click through to see the Stitch and Resist Gallery

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The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


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The Mill's 2021 artistic program is proudly supported by BankSA Foundation.

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The Mill is supported by the South Australian government through Arts South Australia.

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Exhibition: The Mill Showcase at Fleurieu Arthouse


Photo: Morgan Sette

Photo: Morgan Sette

June 5 – 27, 2021

Blake Canham-Bennett, Steel Chronis, Amber Cronin, Andrew Eden, Matea Gluscevic, Evie Hassiotis, Yana Lehey, Kirsty Martinsen, Kate O’Callaghan, curated by Adele Sliuzas

At Fleurieu Arthouse, Hardys Tintara, Kaurna Yarta, 202 Main Road. McLaren Vale

Opening event: June 20, 2pm


The Mill Showcase is an exhibition series dedicated to artists who work in The Mill’s studio spaces on Angas Street, Adelaide. The exhibition includes artworks and products that have been produced under our roof by incredible artisans. This touring edition of The Mill Showcase brings a selection of our artists to McLaren Vale, so that we can share their practice with you!

This edition of The Mill Showcase features work by Blake Canham-Bennett, Steel Chronis, Amber Cronin, Andrew Eden, Matea Gluscevic, Evie Hassiotis, Yana Lehey, Kirsty Martinsen and Kate O’Callaghan, curated by Adele Sliuzas

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Shop the Showcase

public program, gallery I

Exhibition: Thomas Readett, 'Complexities'


Thomas Readett Complexities Image Renee Readett Creative

Image: Thomas Readett, Complexities, photo: Renee Readett Creative

May 21- June 25, 2021

Artist talk: Friday June 18, 5:30-6:30pm

Workshop: Saturday June 26, 10am-12pm


The Mill is excited to present Complexities, a solo exhibition by artist Thomas Readett. This new body of work uses self-portraiture as a medium for exploring the complexities of contemporary life. Thomas’ self-exploration and personal narratives become opportunities to reflect the wider world, through themes of love, loss, and grief.

Taking inspiration from the Rubik’s cube, Thomas sets the scene of a ‘thinking game’, asking viewers to consider a multi-layered reading of his works. Complexities and connections can be found throughout, with audiences able to bring personal interpretation to their journey through the exhibition environment. Rather than self-portraiture being self-focused, Readett speaks of empathetic connection and creative interpretation of the challenges of 21st century life.

Thomas’ graphic aesthetic is powerfully rendered in black and white, with careful attention to detail. He melds street art style with classical training to produce work that is technical and conceptual. In Complexities he pushes his practice into 3D sculptural space, playing with the pictorial plane and interrupting our usual modes of interpretation. The Rubik’s cube gives us an opportunity to see portraits in flux, opening up the medium (and meaning) to change. 

Artist statement 

Perception is a fundamental trait of the creative mind. It allows us to interpret ideas differently to others, bring fresh ideas but also brings a different set of mental and social processes. These processes mean that we have deep and empathetic connections to people and the world around us.

Complexities explores how convoluted the creative mind can be. In this abstracted self-portrait body of work I reflect on the importance of self-expression and how overwhelming the world, life and relationships can be without it. In the world’s current climate all aspects of life have been more challenging than usual, using a form of self-expression has never been more important and, for me, it has become compulsory. 

My love of video games and thinking games has driven the development of these works, using these games as a conduit to describe the complexities of connection and reflection. Using a small and technical object known as the Rubik's cube as the starting point, the original thinking game. My Rubik’s cube speaks to the pixel like painted snapshots on the walls and creates an environment to explore and contemplate life, connection, and love. 

 

Artist Biography 

Thomas Readett is a Ngarrindjeri man and established artist from Adelaide, South Australia. He is currently working as Tarnanthi Education Officer at the Art Gallery of South Australia part-time alongside his art practice.  

Thomas has been a drawer his entire life ever since he was a child, wanting to further his career as a professional artist he enrolled into Adelaide Central School of Art in 2011, and it was then he began painting. This is now his main practice among others. Thomas graduated his study at Adelaide Central School of Art completing his Associate Degree and Bachelor of Visual Arts Degree (BVA) in 2015. During his time at Adelaide Central School of Art he held group shows with fellow graduates and ended the degree with his final body of video work based around ideas of solitude and a personal journey through his identity. 


Thomas has since exhibited solo exhibitions Beneath the Skin, Dark Light and latest body of work From Within, which was completed through the University SA and Country Health SA Artist in Residency program. He is a huge advocate for raising mental health awareness and most of his current concepts enforce this. Thomas has recently been working on large scale public art murals across South Australia both solo and collaboratively in events such as Wonderwalls, Big Picture Fest and other large-scale commissions.

 

The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


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Exhibition: Biophilia: Call of the Wild


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August 16 - September 17, 2021

Opening event: Friday August 20, 6-8pm

Biophilia Symposium: August 28


For SALA festival 2021 The Mill presents Biophilia: Call of the Wild, a group exhibition and public program featuring designers exploring connection to nature within built environments

Biophilia: Call of the Wild is a group exhibition that explores our innate human desire to be connected with the living world. Biophilia, from Greek translates as ‘the love of living things’, which Exhibition Curator and maker/designer Robyn Wood has used as a conceptual starting point.  At its core is the principle to connect humans with nature and as a result improve wellbeing. In our urban setting we yearn to connect to the natural environment. 

Held in The Mill’s Exhibition space, Robyn has brought together South Australian designers Enoki, Caren Elliss, Jake Shaw, Peter Walker, Sally Wickes, whose works connect humans with nature. These designers demonstrate a variety of thinking and approaches from within their contemporary creative practices. They express their ideas through sculpture, furniture, interior installation and experiences. The exhibition includes  diverse materials, process and concepts, experiences evoking space and place (prospect, refuge, mystery and risk);  natural elements-water: greenery and natural light; use of materials, textures and patterns; and botanical shapes and forms.

A symposium will be held at The Mill alongside the exhibition and will feature a line up of Adelaide Creative thinkers, furniture designers, writers, architects, artists and environmentalists exploring a range of topics around Biophilic design. Exploring themes of art, contemporary design, the need for nature in our human environment, well being, sustainable practices and science that intersect with the topic of Biophilia.

Presented with partners The Design Institute of Australia, Adelaide Sustainable Building Network and with support from City of Adelaide,Gilchrist Connell, Bank SA Foundation, and Arts SA


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Images: S and P, 2021, American Oak and American Walnut, 150mm (H) x 85mm (W) , Photo: Morgan Sette

Caren Elliss

In considering this project I have looked at the repeated forms that occur in nature. The gentle undulations of sand along the shoreline, the ridge formations in cockle shells and the lapping of waves against the shore.

Describing herself as a designer/maker Caren Elliss is known for producing thoughtful, original furniture and lighting. Caren has a Bachelor of Industrial Design (Honors) and Master of Sustainable Design from University of South Australia. She undertook a four-month Industrial Design internship at AirDesign, Mexico and completed the Associate Program at JamFactory.

Caren has worked with Koskela, Estilo Commercial and Woodmark, and from 2016 -2018 was a Studio Educator in Product Design and a Workshop Instructor at the School of Art, Architecture and Design, University of South Australia.


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Image: Traces, collaborative work of Susanna Bilardo, Cindy Chay, Amber Lewis, Ash McCammon and Jacky Spencer.

Enoki

Traces by Enoki is a cocooning interactive sculpture that will transport the viewer on a short journey to a place of sensory immersion. The installation will include experiential offerings of sights, sounds, smells and textures from the 5 artists personal memories and associations with nature to evoke emotional connections with the participant. Traces is the collaborative work of Susanna Bilardo, Cindy Chay, Amber Lewis, Ash McCammon and Jacky Spencer.

Enoki is a multidisciplinary design practice, we design our projects to work well now and in the future. We endeavour to enhance the experience of those that use, live with, or live in our projects. Every project, no matter how small, is explored, reworked and given complete attention, until a unique and inspiring design solution is achieved.

We endeavour to share, experiment, learn and remain open to changing direction throughout the design process. We choose to include each other and our clients in our thinking. We take responsibility in touching the earth as lightly as possible. We embrace and incorporate sustainable practices in our projects.


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Images: Forager’s Chair, 2021, 100% Tasmanian Reishi mushroom mycelium and blackwood timber, 850 x 500mm Photo: Morgan Sette

‘Mycelial Matters’ Galley Bench, 2018

Jake Shaw

Jake Shaw's 'Forager’s Chair' is made from 100% Tasmanian Reishi mushroom mycelium and the hardwood timber on which it natively grows. The work reads as a resolved piece of furniture, but in actuality does not significantly deviate from the process of the mushroom growing in the wild. By emulating the natural conditions and environment of the mycelium, the work strives to be demonstrative of harmony between maker and material.

Jake graduated from the University of South Australia in 2019 with a Bachelor in Interior Architecture.With his background in interior design, Jake Shaw's work looks at the relationship between the built environment and human experience. Primarily composed of grown mushroom mycelium furniture and sculpture, his practice is led by explorations of new and sustainable materials, phenomenology, design as art, public art, and spatial experiences. His work seeks to challenge the idea that organic materials and textures are somehow unrefined in design and to pursue material subtlety with discipline and restraint


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Images: Peter Walker, Perching, 2021, wood, human scale Photos: Morgan Sette

Peter Walker

In the bush, a branch, a rock, a log, can spontaneously become a place to rest and impromptu furniture. Perching is a series of objects that combine naturally formed branches with machined timber to provide support for the body.

Whether resting while standing, sitting or lying down, the body and Perching form a symbiotic relationship. This tactile experience elicits a connection with the natural world, encouraging reflection on the nature of wood and its origins.

Peters practice encompasses a range of activities utilizing wood including sculpture, surfboards and furniture. Peter gained a BFA in 1986 and an MFA Degree from the School of Art, University of Tasmania, Australia in 1993. He ran his own studio for 14 years in Tasmania, moving to Adelaide to Head the Furniture Design Studio at the JamFactory Craft and Design Center in the late 90’s. Peter has worked as Design Consultant for Chiswell Furniture, Designer Makers Tasmania Cooperative 1985, Co-Director of the 1991 Hobart Design Triennial and a partner of Dezco Furniture LLC. He is currently Program Director, Master of Design, School of Art, Architecture & Design. Prior to this Peter was Associate Professor at the Rhode Island School of Design USA, 2001-2011.

His work is represented in public and private collections, including the Australian Parliament House, Canberra and the RISD Museum, USA. Peter exhibits work regularly across Australia, Europe and USA.


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Images: Grassplace: No.1, 2021, steam bent Australian Oak, 1800 h x 400 w Photo: Morgan Sette

Robyn Wood

The Kaurna name for Carriageway park (Park 17) is Tuthangga meaning “grass place”. Native grasses have miraculously survived in our Park lands and provide refuge for the rare grassland copper butterfly. This grass is the inspiration for this installation. The sun shines down on these precious strands of grass forming elongated shadows that stretch and move.

Grassplace installation is a series of slender panels that both define space and create a delicate sculptural backdrop. The screen design is a repeat pattern of strands gently curved reflecting grass gently moving in the breeze. Designed to make use of resources close to home it is made from steam bent Australian timber with a variety of natural coloured stains applied. Grassplace provides both prospect and refuge. We are protected and comforted by a place to hide but can peak through the open strands to seek a view. We are connected to our unique natural landscape by bringing these forms inside.

Robyn Wood is a South Australian designer working in a diverse range of disciplines from Furniture design, sculpture, installation and product. Maintaining a connection to nature in a contemporary context is important in her creative practise.

Robyn studied and practiced as a teacher before following her passion for design and returning to study as a designer. She has a Bachelor of Design Interior Design from the University of South Australia. In 2014 she established her studio working on furniture and interior installations.

She has worked on a wide range of international and local commercial and government interior projects, private furniture commissions, exhibition pieces and small production runs. Being hands on in her joinery work and experimenting with other media continue to be important in developing new work.


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Images: green.light process documentation

Sally Wickes

The ambience created by light filtered through foliage has a measurable influence on humans. Whether it revives awareness of our interconnection with the natural world or sense of shelter and sustenance, its impact is created as much through shadow as light.
green.light draws on the visual experience of plants and light in concert.

Sally Wickes is a sculptor, visual artist and industrial designer interested in exploring traditional, new and existing materials to create artworks.

Sally holds a degree in Visual Art (Sculpture) and a Graduate Diploma in Design (Industrial Design). She has also created permanent public artworks for several councils; received Arts SA and Helpmann Academy grants to undertake marble carving tuition in Pietrasanta, Italy; and has been awarded several prizes for sculptural work including in the Waterhouse Art Prize.

Visually, Sally's works are diverse as they are enriched by individual concepts and stories. She is inspired by nature and in turn hopes to inspire feelings of oneness and belonging, leading to acceptance of responsibilities that come with being part of a greater whole.

The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com

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This exhibition is a finalist in the City Of Onkaparinga Contemporary Curator Award.

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Exhibition: Ruby Chew and Ida Sophia, 'The Painter and the Performance Artist'


Image: Ruby Chew and Ida Sophia, Image courtesy of the artists

Image: Ruby Chew and Ida Sophia, Image courtesy of the artists

April 7 - May 14, 2021

Open studio/making period: April 7 - 30
Exhibition continues: May 2 - 14

Finissage event: Friday May 7, 5:30-8pm


The Mill welcomes Ruby Chew, the painter and Ida Sophia, the performance artist for a bold new collaborative exhibition, which transforms The Exhibition Space into a site for exploration, interpretation and multidisciplinary practice.

‘What happens when a Painter (Ruby Chew) and a Performance Artist (Ida Sophia) assemble for a period of 4 weeks to make work based on the methodologies, materials and processes of the other’s?’

Ruby and Ida invite audiences into the gallery to watch as their work develops over the first four weeks of the exhibition. Working within a process driven structure outlined in a joint manifesto, both artists will be bringing their own understanding of artistic practice, and a willingness to extend into new zones. While present in the gallery over the first period of the exhibition, the artists will be responding to weekly provocations traded in sealed envelopes. The final two weeks will remain as a static exhibition for audiences to view the work produced during the first period.

Artist Statement

Our objective is to subvert the normal system of an exhibition; how it is prepared, presented and received. Through this we will develop new theoretical underpinnings for our practices, birthed through process. The process is the exhibition.

We will respond to the materials, methods and processes from each other, and build from the foundation of our own practices. Envelopes containing instructions, provocations, methodological considerations and processes will be traded between us weekly. These directives will dictate the work that we make. We anticipate an exchange that is challenging and fruitful, producing work that pushes the edges of our practices into fresh territory.

Adherence to a co-written manifesto, written specifically for this system intervention, provides us with artistic constrictions, intentions and declarations. This includes a list of materials; 5 from Ruby’s practice, 5 from Ida’s and each a meaningful object to work from.

We invite you into this experimental exhibition where you can view work and engage in a participatory capacity. This is a purposefully fluid space, you will encounter all stages of artistic output. Consequently, the gallery will morph and transform weekly, we encourage you to return and witness the space as it evolves.

Artist Biographies

Ruby Chew is a painter who employs process-based making techniques to create open dialogues with her viewers whilst exploring the fluidity of pictorial space. 
Completing a BA Visual Arts Hons. at Adelaide Central School of Art (2010), along with further study at Central Saint Martins, London and the Florence Academy of Art, Florence, Ruby’s practice is deeply rooted in traditional painting techniques, which are the foundation of her practice. 

Ruby is a Ruth Tuck Scholarship recipient (2015) and has exhibited, taught and held residency positions interstate and overseas. She has had numerous solo exhibitions, notably ‘Portraits’ at Magazine Gallery (2011), ’Spitting Image’ at Hill Smith Gallery (2012) and ‘The Difference Between Things’ at Floating Goose Studios (2021). 

Her artworks are in public and private collections across Australia, Canada, Malaysia and London. She currently lives and works in Adelaide, South Australia

Ida Sophia’s live art participatory performance, sculpture, installation and sound practice investigates how to approach loss in modern, secular life. Looking to facilitate our need for ritual, contemplation and completion, her works intend to slow down the dilution of ceremony.

2020 has seen Ida further develop her practice in durational performance through training with international artists Vest&Page, performances at The Venice International Performance Art Week Co-Creation Live Factory: Dissenting Bodies Marking Time. Her next durational performance will be at Floating Goose, spanning the month of June 2020. Ida Sophia has been mentored by a range of performance artists and curators, among them Joseph Morgan Schofield (Artist/co-ordinator of the Live Art Development Agency, UK), La Pocha Nostra (Artist Guillermo Gomez-Peña, Voin de Voin (Artist/Curator, Æther, Sofia) providing critical advice for her practise and development of participatory encounters.

In 2019, Ida held her first international solo exhibition at Æther Art Space in Sofia, Bulgaria, following her participation in the World of CO Artist Residency (Sofia, 2018). Ida has participated in the ‘Cleaning The House’ workshop with the Marina Abramovic Institute and exhibited in multiple group shows locally and internationally since 2017.

The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


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Exhibition: Jingwei Bu, 'Life Maps'


Image: Jingwei Bu, Life Map 2, 2016, performance, pencil and paint on paper,

Image: Jingwei Bu, Life Map 2, 2016, performance, pencil and paint on paper,

February 24 - April 2, 2021

Opening event and performance:
Sunday February 28, 1-3pm

Workshop:
Thursday April 1, 2-4pm, $15


The Mill is excited to present Life Maps, an exhibition by multidisciplinary artist Jingwei Bu. This series of drawings are both the artworks itself and a document of performative action. Jingwei speaks of her process as intuitive action, where she uses techniques of focus and meditation to translate emotion and memory onto the paper.

Formally, the works have a simple palate and are constructed of a handful of stylised gestures- repeated lines, shading, sequenced numbers and spirals. Each drawing is created in one sitting, which lasts several hours, drawing from the genre of time based performance. They are built through an intricate and layered mark making process, where Jingwei moves about the page purposefully. Meaning shifts as earlier marks are covered, or extended over. Abstraction allows Jingwei to express deeply personal and emotional experiences through movement in a way that allows audiences to engage their own curiosity, their own mental performance of map-making. The exhibition also includes a performance by Jingwei, extending her Life Maps into live action in the gallery space.  

Artist Statement

My Life Maps drawings are a performative movement of the hands. The marks, numbers and lines carry the intuitive motion performed on the paper. The endurance of the movement uses the paper as a stage and as a boundary for action. The results of the performances are either purely intuitive or an action for a reflection on a life event. The repetition of motion is like meditation and ritual. The repetition is never the same.

The freedom of movement is paralleled by the process of creating space among lines, forms, and marks that resonate the actions of navigating distance and space among people. The longer the movement, the deeper I can go into the subconscious of emotion and memory accumulated in the life journey. To reach, to fix, to answer the questions locked.

Each mark has its character to me, together they are telling complex stories. This exhibition shows the old Life Maps from the previous years and the recent ones since my mother’s passing two years ago. The making of new life maps has helped me get through the grieving and to gradually heal. 

Artist Biography

Jingwei Bu is an art student from Adelaide Central School of Art, graduating with her associate bachelor degree of art in 2020. Jingwei’s practice draws on Buddhist Chan/Zen teachings. She references both Western and Eastern cultural and artistic traditions in duration-based works on paper titled Life Maps. In creating them Jingwei utilises the principles of a mindfulness meditation, committing to a length of time engaging memory, experience and reflection to document her life’s journey using mark-making.

She is passionate about sharing this creative process with others and credits the cathartic artmaking process as possessing positive and even therapeutic benefits, citing an emphasis on acceptance and the ability to transform negative thoughts and feelings through creativity.

The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com


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Sponsored Studio 2021 + Exhibition: Hussain Alismail, 'In search of a good laugh'

The Mill is thrilled to announce Hussain Alismail as the recipient of the Sponsored Studio for the July-December residency. The Mill’s Sponsored Studio is a new initiative supported by Drs Geoff and Sorayya Martin, and an anonymous philanthropist beginning in 2021. Two selected artists have joined our community, with each receiving 6-months of studio space and an exhibition outcome as part of The Mill Showcase.

Exhibition: Hussain Alismail, ‘In search of a good laugh’

November 8 - December 17, 2021

Opening event: November 26, 6-8pm

Where: The Mill Exhibition Space, 154 Angas St, Kaurna Yarta

Cost: Free

Accessibility: Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St. The Mill has concrete flooring throughout and a disability toilet. View more in-depth information on our accessibility page.


Join us for the launch of Hussain’s exhibition In search of a good laugh, the outcome of work produced during his sponsored studio residency at The Mill. In Search of a good laugh opens alongside The Many Faces of Frances on Friday, November 26. Hussain will also present an artist talk in conversation with The Mill’s Visual Arts Curator Adele Sliuzas in November.

Artist statement

As much as identity defines who we are, our culture and morals; it is always a challenge to prevent misconception, misrepresentation and misjudgment. This challenge and other issues like belonging, individualism, autonomy, gender tension make no identity idle. Through In search of a good laugh I explore the possibilities of identity within a Saudi/Middle Eastern and Australian context.

Over the past few years, I have been working with the significant visual elements that represent Arab people, creating an abstract visual catalogue of identity. The artworks suggest the colourful shapes and patterns that speak truly about Arabic diversity and culture.

The title of the exhibition is inspired by an interview I recently watched where visitors to an art exhibition were asked: ‘What you are looking for in this exhibition?’ One visitor answered ‘I don’t know! Maybe a good laugh!’ This answer struck me, and took me back to ten years ago when I worked as a cartoonist at KFUPM newspaper (a university publication in Saudi Arabia), where my art work attempted to generate laughter about the hardest issues faced by students. Since then, my work has shifted to become more abstracted and conceptual, however, I believe laughter is a worthwhile pursuit. This exhibition may not be overtly comedic, but I would like to invite audiences to consider the work through a lens where it can be both serious, conceptual and parodical.


About the artist:

In constant flirting with meaning and medium; Saudi visual artist Hussain Alismail focuses on the pleated part of Saudi society in his work. Coming from the marginal community of Shia in the Eastern providence, he was constrained to examining a rich perspective of social interactions and discourses. Alismail draws inspiration from direct/indirect communications, experiences and history to tell stories about our culture.

He holds BFA in drawing & painting from OCAD U with an emphasis on illustration and social science. He is currently in the final year of visual effects and entertainment design studies (VEED) at Flinders University. Alismail exhibits both nationally and internationally, most recently presenting work in his third solo show Frilly at Argo on the parade in Adelaide. In 2020, he was one of the recipients of Maan grant from Athr gallery and one of the participants of the inaugural Albalad residency by Saudi Arabia Ministry of Culture. He was awarded in many competitions including Alkassbi International Award II (2015) and MCY by Edge of Arabia (2011).

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Sponsored Studio 2021 + Exhibition : Holly Childs, 'Reality Winner'

The Mill is thrilled to announce Holly Childs as the recipient of the Sponsored Studio for the January-June residency.

The Mill’s Sponsored Studio is a new initiative supported by Drs Geoff and Sorayya Martin, and an anonymous philanthropist beginning in 2021. Two selected artists will join our community, with each receiving 6-months of studio space and an exhibition outcome as part of The Mill Showcase.


Image courtesy of the artist

Image courtesy of the artist

Reality Winner exhibition opening and artist talk

Join us for the launch of Holly’s exhibition Reality Winner, the outcome of work produced during her sponsored studio residency at The Mill. Reality Winner opens alongside Stitch and Resist on Friday July 2nd, followed by an artist talk with Holly in conversation with The Mill’s Visual Arts Curator Adele Sliuzas date now TBC in July.

Artist statement

Language falls asleep in dreams. Reality Winner is the name of an NSA contractor convicted under the Espionage Act for leaking a report about Russian interference in the 2016 US election. Salvador Dali was kicked out of the surrealist movement for being too surreal. Post-rational author and consultant Venkatesh Rao defines “surreal” as “underflowing with life”, as in, there isn’t enough life force to go around, but “underflowing” also has a specific meaning in computation when a value is smaller than a computer can compute. Venkatesh: "Dreams *are* an underflowing-with-life state since they occur in sleeping bodies capable of much higher flows when awake". This exhibition contains materials derived and reworked from exhibitions, performances and collaborations that I contributed to but that I could not attend "in real life" due to the pandemic and associated travel bans.

Exhibition opening

When: Friday, July 2, 5:30pm

Where: The Exhibition Space, The Mill, 154 Angas Street

Cost: Free, RSVP via eventbrite

Artist talk

When: Postponed. Dates TBC

Where: The Exhibition Space, The Mill, 154 Angas Street

Cost: Free, RSVP via eventbrite

About the artist:

Holly Childs is a writer and artist. Her research involves filtering stories of computation through frames of ecology, earth, memory, poetry, and light. In 2020, she was an associate artist at Jacuzzi dance space, Amsterdam; and alongside Gediminas Žygus she released Hydrangea (Subtext), an album exploring narrative fracture and reality bubbles. She is the author of two books: No Limit (Hologram) and Danklands (Arcadia Missa), and is a former Gertrude Contemporary studio holder (Melbourne), an alumna of The New Normal (Media, Architecture and Design) programme at Strelka Institute, Moscow, and she holds a Masters in Film, Design and Politics from Sandberg Instituut, Amsterdam. She has been in residence at Arcadia Missa (London), RM (Auckland), Firstdraft (Sydney), Rupert (Vilnius), and DAR (Druskininkai). She is currently writing her third book, What Causes Flowers Not to Bloom?; teaching in the Graphic Design department at Rietveld Academie, Amsterdam; and developing Cliffhanger, a text, installation, and choreographic collaboration with Angela Goh.

public program, gallery I

Exhibition: Chris Herzfeld & Erin Fowler, '10th Anniversary Collection'


Image: Chris Herzfeld (Photographer ) and Erin Fowler (Model/dancer) (detail), 2020, Giclee, 1100x800

Image: Chris Herzfeld (Photographer ) and Erin Fowler (Model/dancer) (detail), 2020, Giclee, 1100x800

March 10- 21, 2021

Opening event:
Sunday, March 14, 3:30-5pm




This exhibition celebrates 10 years of collaboration between renowned photographer Chris Herzfeld and dancer Erin Fowler. Creative collaborations such as these are immensely valuable to artists practice, and Chris and Erin have shown how strong creative relationship can grow and develop over time. Both have spent the past 10 years becoming attuned to each other’s practice, and are able to work intuitively as well as push each other to grow. In this series of portraits we see Erin’s incredible skill as a dancer and model showcased by Chris’ photography. Both have also made significant contributions to The Mill, Erin as Co-Founder and Chris as a long term supporter and contributor to our programming. Through this series of images we celebrate their collaboration, and also thank them for their continued contribution to the Adelaide creative sector!

Artist Statement

CHRIS : I’ve been really fortunate over the last 17 years to have collaborated with some fantastic dancers and artists on some really special projects. But it’s always super special when you reach a big milestone as I have done in 2020 with Erin Fowler. 10 years ago we started helping each other out on projects and over the years our relationship has morphed into fully collaborating in setting up and executing projects together.

Ok, maybe there been a few cakes eaten along the way as well to satisfy the 3pm sugar craving but it’s been an incredible, thoroughly rewarding & enjoyable journey working with Erin over the last 10 years. We’ve created a diverse range of projects over that time with memorable outcomes. A massive thanks to Erin, Kyra and all of those we’ve dragged into our vortex over the years.

ERIN : Chris, Kyra and I have been working together on dance photography collaborations since 2010. Together we have developed an attuned and creative approach to creating shots. Both Chris and I enjoy working relatively quickly and intuitively and I think that this approach results in very alive and energised shots.

At the beginning of 2020 Chris, Kyra and I decided that we would create 10 new projects for our 10th year of working together. These projects range from dance to fashion, as promotional shoots for dance projects and lots in between. We’ve shot in the studio & on location, here in South Australia and around the world. This exhibition is a small sample of the 20+ collections we have created together.

Artist Biography

Established in 2003 by Chris Herzfeld, Camlight Productions is a unique business that provides photography, cinematography and lighting services. Chris works extensively in the arts and in particular throughout the Australian dance industry as a photographer & a cinematographer.

Chris’s images are a fusion of fashion and dance. Drawing on the distinctive range of movement and shapes of dance in combination with the more traditional modelling poses, the image embodies a sense of drama, poise and style. This unique style creates images that have a sense of narrative within them. Chris likes to leave it to the viewer to use their imagination to create that story. In a world where digital manipulation and compositing are commonplace in photography Chris's approach is more classical, with an emphasis on lighting, colours and composition with the look of minimal post production processing. His images take on a 3D appearance so the viewer feels as if they are present in the location watching the action happen before their eyes. 

Erin Fowler is an Australian artist working across the dance, theatre, music and film industries. She creates and presents deeply feminine, audience driven, socially minded work. Erin is a multi-faceted performer that blends together an eclectic mix of contemporary dance, theatre, music, clowning and martial arts. Erin’s choreographic credits includes FEMME, (2019 Adelaide Fringe - Best Dance Award. 2020 Adelaide Fringe – Made in Adelaide award), and toured to Reykjavik, Edinburgh & Stockholm. Other works include Gen- y (2018) commissioned for the Adelaide Dance Festival; Epoch (2016) created on Australian Dance Theatre for their Ignition season; and the dance film, Gaia (2014), which has currently screened in over 23 international film festivals.

Erin is a qualified Qoya teacher (a holistic movement practice for women) as well as a facilitator of women’s circles and women’s embodiment practices. Through her new NFO company The Gaia Movement, she is currently working with a number of international schools and partner organisations to develop a school education program and community engagement strategy bason on Gaia.

 

The Mill is an accessible space. Disability access is available via Angas St, and a disability toilet is also available. If you have any questions or additional accessibility requirements, please contact us at info@themilladelaide.com

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Exhibition: Carolyn Corletto, 'Random Acts of Obsession: The Artist as the Collector'


Image: Carolyn Corletto, Sampler, 2020, wood, acrylic paint, plant materials, 20 x 20 x 2cm image courtesy of the artist

Image: Carolyn Corletto, Sampler, 2020, wood, acrylic paint, plant materials, 20 x 20 x 2cm image courtesy of the artist

January 11 - February 21, 2021

Opening event:
Friday, January 22, 5:30-7:30pm

Artist talk and Fringissage:
Sunday, February 21, 1pm-3pm


The Mill’s 2021 Exhibition Space program opens with Random Acts of Obsession: The Artist as the Collector, a new body of work by multidisciplinary artist Carolyn Corletto. Working with found materials, paint, clay, thread and words, Carolyn has created a personal Wunderkammer. Following her compulsion to obsessively collect, she uses discarded domestic objects and ephemeral natural objects as sites for material investigation. The objects of her collections are often found while walking through public space and parklands, then taken back to the studio to be reimagined, investigated, and imbued with memories. Carolyn’s process speaks to the affinity that she holds with her collection, as material objects but also repositories of identity and memory, ‘I respond to the call of things’ she says.

Artist statement:

I often find myself inhabiting the liminal space between passion and obsession, where collection becomes compulsion. Discarded objects begin to speak to me of a new accumulative value. Motives for collecting or over-collecting vary and combine differently for each collector. For me the selection of an object worthy of collection is rooted in memory and biography. The fixation becomes physical with the need to hunt, to store (sometimes display) and inevitably (for me) the need to make something. My art practice is an emotional response to my experience of the landscape and the materiality of the objects I collect as I move through it. I usually find myself focussing on the smallest objects, appreciating their unique properties and design. In my mind anything can become something else through the ministrations of conceptual meditation. Connections are made between found objects and material processes as they assert their status as saved, rehabilitated or collected.

 In this exhibition I have created works that are inextricable from the process itself. Expanding on my finalist work in the Parklands Art Prize I have continued my daily walk through the Parklands and other green spaces, collecting tiny specimens of natural materials or domestic debris and making a one inch wheel thrown ceramic vessel for each object. As the vessels contain my daily thoughts I have found the clay responding differently each day into a myriad of iterations. During Covid restrictions when obsession with making was able to take hold undistracted or tempered by reason I came to appreciate the sense of control these occupations afforded in times of uncertainty, the curative effect before the compulsion returns.

 This exhibition embodies a response to my wanderings, my research and the interior landscape of my personal obsessions, all the while mining childhood memories of lying on the grass gazing through the tracery of trees. With deliberate energy each work offers an acutely focussed encounter and collaboration with an environment balanced between vulnerability and resilience. By bringing materials out of their habitat and into the gallery, recontextualising with a mindful counter of tension and tenderness, I confirm that my eyes are open to the urgency of fragility. 

Artist biography:

Carolyn Corletto is an emerging multidisciplinary artist working in the fields of painting, sculpture, textiles, ceramics and assemblage. Using found materials, paint, clay, thread and words she contemplates and prospects the materiality of discarded domestic objects and ephemoral natural objects as repositories of identity and memory.  Since graduating with Honours from Adelaide Central School of Art she has been actively exhibiting both in South Australia and interstate including being selected by Guildhouse to exhibit her Honours work in a solo show. 

The last 3 years have been highly productive for Corletto. She was a finalist in the Waterhouse Natural Science Art Prize, the Broken Hill Outback Art Prize and the Parklands Art Prize and was awarded the Wilson Wine Label Commission through the Helpmann Academy. This year she was a finalist in both the Don Dunstan Award and the Adelaide City Incubator Award during the 2020 SALA Festival. Corletto is currently working out of Collective Haunt Studios and has recently been awarded a Diderot Scholarship towards a residency in France that will be taken up after the lifting of travel restrictions.