Tension[s] 2020 Tamworth Textile Triennial Catalogue

Tension[s] 2020
Tamworth
Textile
Triennial
Craft ACT: Craft + Design Centre

Craft ACT: Craft + Design Centre is supported by the
ACT Government, the Visual Arts and Craft Strategy –
an initiative of the Australian State and Territory
Governments, and the Australia Council for the Arts – the
Australian Government’s arts funding and advisory body.
Craft ACT: Craft + Design Centre
Tues–Fri 10am–5pm
Saturdays 12–4pm
Level 1, North Building, 180 London Circuit,
Canberra ACT Australia
+61 2 6262 9333
www.craftact.org.au
This exhibition has been developed by Tamworth Regional
Gallery and is supported by the Visions regional touring
program, an Australian Government program aiming to
improve access to cultural material for all Australians.

Tension[s] 2020
Tamworth Textile
Triennial
Soraya Abidin | Gillian Bencke | Julie Briggs and Kelly Leonard | Armando Chant | Georgia
Chapman | Linda Erceg | Anne Ferran | Dianne Firth | Sai-Wai Foo | Tina Fox | Erica Gray | Elisa
Markes-Young | Julie Montgarrett | Deborah Prior | Margarita Sampson | Mark Smith and Dell
Stewart | Jane Théau | Tjanpi Desert Weavers | Yinarr Maramali
Craft ACT: Craft + Design Centre
24 March - 14 May 2022
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Tamworth Textile Triennial
Performance, Interaction and Material Futures
Exhibition statement
20/20 Vision is the standard notation
used to indicate perfect vision. It bases
its declaration of ‘perfect’ on only one
thing: sharpness of vision when standing
approximately six metres from an eye
chart. Meanwhile, other worthwhile
attributes are ignored – such as peripheral
awareness, eye coordination, depth
perception, focusing ability and colour
vision.
The saying ‘hindsight is 20/20’ suggests
that the distance afforded by time enables
us to better understand the past and
that, by extension, hindsight might assist
us to make better decisions about our
future. But does this reflection take into
consideration the diversity of perspectives
required to really learn from the past?
If there is one thing that hindsight has
taught us, it is the danger of drawing
meaning from only one perspective.
future of people and place through textile
as a material and human experience
as materiality. By exploring other
perspectives through the metaphor of
tension, we ask:
How could textiles consider people and
place in developing new installation ideas?
How might textiles collaborate with
other interactive mediums to offer new
perspectives?
How can we articulate complex narratives
through engaging textiles in performance?
I hope that, through Tension[s] 2020,
the materiality of our combined working
practices and perspectives can be realised
beyond the scope of a rather parochial,
one-dimensional, 20/20 view.
- Curator Vic McEwan.
Tension[s] 2020 acknowledges that
the world has long been a place under
various tension[s], both harmonious
and dissonant. In order to bear witness
to, contribute to and respond to these
tensions, the triennial will focus on the
Image: Tension[s] 2020 - Tamworth Textiles
Triennial. Photo: Courtesy of the Tamworth
Regional Gallery
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Soraya Abidin
Biography
Soraya Abidin is a Sydney Textiles based
artist, whose works aim to materialise the
in-between spaces within the bi-cultural
binary. Resonating with the tensions
that exist in this realm, Soraya uses
vintage Asian silks to address cultural
misconceptions often experienced by
bi-cultural people. At the same time, for
Soraya, this is a space where there are no
rules to be broken and cultural boundaries
can be traversed. Identifying as bi-cultural
herself, Abidin’s works are inspired by her
experience of being in-between both her
English and Malay heritages.
The work, Guardians of Wellbeing,
was created from a mix of Asian silks,
peranakan glass beads, vintage hemp,
raffia and Swiss straw. This two-faced bird
is described by the artist as a shamanic
headdress worn by a Bomoh, or Malay
spiritual healer.
Image: Guardians of Wellbeing, 2020, Soraya
Abidin, mixed Asian silks, peranakan glass
beads, vintage hemp, raffia and Swiss straw.
Photo: Courtesy of the artist
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Gillian Bencke
Biography
Gillian Bencke is an artist based in
Newcastle, NSW.
She works in photography, sculpture,
installation and fibre.
Gillian has a degree in Communication
Studies at the University of Newcastle
and also studied Photomedia at the
Manchester Metropolitan University, UK.
Her early practice was in photo media and
included a small run of self published
artist books. She later went on to study
digital media at TAFE in Newcastle
and produced work in digitally drawn
animations.
In 2004 while living and working in Paris,
Gillian began to use found fabrics to
create small sculpture works and has been
exploring form in this medium ever since.
Image: Gillian Bencke, A Case, 2020. Photo:
Courtesy of the artist.
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Julie Briggs & Kelly Leonard
Biography
Julie Briggs is known for working in poetry
and art of many forms. Her work has been
seen across the nation, with a recent work
being displayed as a part of the Sunflower
Collection Exhibition in Kandos. Now
her latest work, Curation of Shadows, a
collaboration with Kelly Leonard is proudly
being displayed at Craft ACT.
Kelly Leonard is an artist based in Broken
Hill, NSW. As a teenager, Kelly was taught
weaving by a second-generation Bauhaus
weaver, Marcella Hempel, in Wagga
Wagga, NSW.
considerations in how she makes work
and how work is shown to an audience.
Kelly views weaving as an open-ended
world making practice though which new
patterns can emerge.
Kelly walks on Wilyakali Country, part of
the Barkindji Nation. She acknowledges
that sovereignty was never ceded, what
always was, always will be Aboriginal land.
Since reactivating her practice in 2017,
Kelly has been making work responding
to the sight, sound, smell and feel of the
environment, where she places woven
artworks in conversation with Place, to
activate new meanings and relationships.
Her work is always informed from her
perspective as a regional/remote artist.
Kelly believes that struggles for social
justice and environmentalism cannot
be separated from each other and are
inextricably woven together. Themes such
as trust, the importance of relationships,
different evaluations of time, risk
taking,and the ethics of care are important
Image: Julie Briggs & Kelly Leonard, Curation of
Shadows, 2020. Photo: Courtesy of the artist
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Armando Chant
Biography
As an artist, my focus is on creating work
that sits in-between image and surface,
facilitating a sense of visual, material and
experiential transformation. Through an
expanded approach to the physical and
gestural act of drawing the work explores
the oscillation in-between embodiment
and disembodiment where the interrelationships
between the drawn gesture,
image and surface cross through and
between sites of process.
The inter-relationship between creative
act and visual residue is investigated
by working within an inter-disciplinary
and open context, including drawing,
photography, and textile techniques
to evoke and materialise an sense of
atmospheric presence.
the image/artefact is seen not as a final
outcome but part of a visual and material
landscape that is in a constant state of
emergence and dissolution, evolving in
response to the physical act of drawing,
and the ethereal trace left behind
I have participated in exhibitions that
reflect this expansive and explorative
approach, held in London, Florence,
Melbourne and Sydney.
As an academic, I’ve worked as a lecturer
across degree and Masters programs at
leading universities in London, Sri Lanka
and Australia.
The practice thereby opens up a dialogue
for the visual image to be re-framed or
re-presented within an ephemeral and
transient context across site, surface
and screen, be it image, artefact or space
and contribute to alternative ways of
experiencing, and seeing, both image and
surface where one does not take priority
over the other but become a hybrid form
of experience. Through this exploration
Image: Armando Chant, Topographical
Reflections Day (detail), 2020. Photo: Courtesy
of Craft ACT
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Georgia Chapman
Biography
Georgia Chapman’s Vixen label was much
loved for more than twenty years. Now
after a break to be with her young family,
Georgia is bringing back her signature
prints in selected products. It is the start
of the Georgia Chapman label: the same
design aesthetic, the same emphasis on
quality, with more one-of-a-kind pieces
and limited edition collections.
Georgia has exhibited her work widely, and
her designs feature in the National Gallery
of Victoria and the Powerhouse Museum
collections.
Georgia’s style is to reinvent traditional
motifs and patterns and combine prints
in unexpected ways. She creates pieces
with timeless simplicity, function and
beauty. Her passion is for design, colour,
craftsmanship and the handmade.
Vixen Australia began in 1992, a fashion
and homewares label that used all original
fabrics. Printed crepe de chine, georgette,
velvet devoré and a full range of silks in
rich colours and textures quickly became
Georgia’s trademark.
For twenty years, Vixen was sold through
retail outlets across Australia, Asia, and
London. The Vixen flagship store in Fitzroy
opened in 2007.
Image: Georgia Chapman, My place, 2020.
Photo: Courtesy of the artist
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Linda Erceg
Biography
Dr Linda Erceg is a multidisciplinary artist
and lecturer at the School of Creative
Arts and Media at University of Tasmania
in Hobart. Her creative practice spans a
range of mediums, including photography,
video, and installation.
In recent works, Linda creates sculptural
objects and large-scale installations that
explore the connection between stitched
artefacts, living systems and patterning.
Using a range of recycled and repurposed
plastics, her work is a timely exploration
of the impact of anthropogenic change
and the imagining of future ecologies. Her
artwork has been exhibited nationally and
internationally with support from Australia
Council, Arts Victoria and Arts Tasmania.
Image: Linda Erceg, Biomorph, 2020, mixed
plastics. Photo: Courtesy of the artist.
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Anne Ferran
Biography
Anne Ferran is an artist whose work
questions representations of femininity
and history, particularly the legacy of
colonial histories. Her feminist and
philosophical approach to photography
in the 1980s and 1990s reframed
the medium as not only a means of
documentation but a form of cultural
mediation, with its own history and
blind spots. She has worked in analog
and digital photography, installation,
video, photobooks, and performance to
address absences and erasures at sites
of historical significance in New South
Wales, Tasmania, and Western Australia.
Ferran received a Bachelor of Arts from
Sydney University, attended Mitchell
College of Advanced Education (now
Charles Sturt University), and received
a Bachelor of Visual Arts degree from
Sydney College of the Arts in 1985 and a
postgraduate diploma in 1987. In 1994 she
completed an MFA at the College of Fine
Arts, University of New South Wales. She
is an honorary fellow at the University of
Wollongong.
Image: Anne Ferran, Field Haunter from Birdlike
Series, 2020. Photo: Courtesy of the artist
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Dianne Firth
Biography
Although educated as a landscape
architect Dianne had early training with
textiles at Newcastle Technical College
and Glasgow Art School and was involved
with textiles for fashion, theatre costume
and interiors. She discovered quilting after
seeing a collection of Amish quilts at the
National Gallery of Victoria in the early
1980s and undertaking a masterclass with
American art quilter Nancy Crow.
Her works have been selected for
major juried international and national
exhibitions, publications and for public and
private collections. Since 2001 she has
been one of six artists in the Canberrabased
tACTile group with the objective of
expanding the boundaries of the art quilt
and mounting exhibitions to travel.
Firth is Adjunct Associate Professor in
the Faculty of Arts and Design at the
University of Canberra. She holds a
Bachelor of Landscape Architecture, a
PhD, is a Fellow of the Australian Institute
of Landscape Architects and advises
the ACT Government on issues related
to landscape heritage, trees, and urban
design.
Image: Blown by the wind, Dianne Firth, 2020.
Photo: Courtesy of the artist.
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Sai-Wai Foo
Biography
Sai-Wai Foo is an emerging artist and
graduate of RMIT, Melbourne. Her practice
focuses on the manipulation and folding
of cut paper to produce sculptural volume
and structure from a 2-dimensional
medium.Her works combine organic paper
with other pieces of collected ephemera to
create vignettes and still points in time.
Exploring the use and repurposing of
discarded unwanted items, Foo aims to
seek out a new aesthetic. The materials
used are discarded but once treasured
items that have outlived their usefulness
or owners. She subverts their use through
repurposing and with the additional of
the artisanal, to imbue an item with a new
value. It is a way to question how things
are used in our over-curated and insatiable
consumer society.
These interwoven elements marry the
past and present create an object that
transports the viewer into another realm;
an intersection of the nostalgic and the
contemporary.
Image: Sai-Wai Foo, Children of the Sun, 2020.
Photo: Courtesy of the artist
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Tina Fox
Biography
Tina Fox trained as an architect at
The Bartlett School and University of
Westminster in London and went on to
complete an MA Art in Architecture at the
University of East London.
After working for over 10 years in
architecture and interior design, Fox
moved to Sydney in 2011 and expanded
her private practice into visual and public
art.
Her current work explores hand crafted
techniques to reflect on digital printing and
manufacturing and the future of craft in
the modern age.
She has exhibited large public textile
sculptures in Sydney for Vivid, The North
Sydney Art Prize, Harbour Sculpture,
Sawmillers Sculpture Prize and The
Sydney Architecture Festival and is
currently one of the resident artists at the
TWT Creative Precinct in St Leonards.
Image: Tina Fox, Crochet Machine, 2020. Photo:
Courtesy of artist
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Erica Gray
Biography
Erica’s lif.e.quatic series is inspired by
the natural aquatic environment and
the creatures within. Her interpretation
of the complexity of structures, vivid
colours and intricate patterning observed
in a variety of marine creatures as well
as a reference to man’s influence over
the environment. This meshing of
aquatic and terrestrial influences forms
a symbolic representation of how coral
and its surrounding ecosystems, once
autonomous, must now cling to us in
the hopes of maintaining their continued
existence.
as well as North Qld’s sculpture Festival -
The Strand Ephemera in 2011, 2013, 2015,
2019 and was joint winner of the Artistic
Award of Excellence in 2011 and the 1st
prize winner of the Award for Artistic
Excellence in 2017.
Erica’s work has been a finalist in
numerous painting and sculpture prizes,
among them she was a semi-finalist in
the Doug Moran National Portrait Prize in
both 2019 and 2013, she was a finalist in
the 2015 Hurford Hardwood Portrait Prize
as well as the Glencore Perceval Portrait
Prize in 2012, 2016, 2018 and 2020. With
her sculptural work she has been a finalist
in the Tamworth Textile Triennial in 2014
and 2020, a finalist in the Gold Coast Swell
Sculpture Festival 2010, 2011, 2014, 2016
Image: Erica Gray, Immortal coil, 2020. Photo:
Courtesy of the artist
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Elisa Markes-Young
Biography
Elisa Markes-Young was born on New
Year’s Eve 1964 in Gorlice, Poland. In 1981,
she moved to Germany with her family,
then Western Australia in early 2002.
With her cross-cultural biography, Elisa’s
identity is punctuated by the question of
how Polish or German she really is. It is
also very much defined by the feeling of
being caught between two worlds.
The excitement of living in a foreign
country is accompanied by an intense
feeling of displacement. Being a stranger
and ‘different’, having to master another
language and the mentality of a new place
creates a feeling of insignificance and
inadequacy. Trying to navigate between
the Polish origins, German influences and
Australian surroundings, Elisa recognizes
that self-reflection is crucial to her identity:
It is a reflection on the variations of her
‘handed-down’ identity.
Image: Hugs and Kisses, Elisa Markes-Young,
2020. Photo: Courtesy of the artist
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Julie Montgarrett
Biography
Julie Montgarrett is a textile artist,
curator and former lecturer whose
practice includes over 100 solo and group
exhibitions, site specific installations,
public art commissions and ground
breaking community-based arts projects
in Australia and internationally. Her works
are represented in major Art Gallery and
Museum collections in Australia and
internationally. Her main interests are
in the areas of drawing and embroidery
to extend the conceptual and spatial
possibilities of textile as narrative
questioning dominant Australian histories;
to explore doubt and fragility via visual
narratives in complex installations.
Image: Julie Montgarrett, Grim Harvest
Plundered Wealth and Squandered Plenty, 2020.
Photo Museum and Galleries of New South
Wales
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Deborah Prior
Biography
Deborah Prior’s art practice navigates the
complexities and pleasures of having and
being a body, via craft practices including
knitting, stitching and embroidery
Using salvaged, stained, and damaged
material(s) from the domestic sphere, she
crafts soft sculptures, installations, and
performances that explore ideas of bodily
agency, disgust & desire, and the personal
and social histories of domestic work.
Most recently, Prior has been investigating
the shared visual language of body
fragments in medical illustration/
modelling and religious iconography,
positioning her textile pieces as profane
relics to invite conversation around the
contested knowledges, histories, and
mythologies of female corporeality.
Based in Adelaide, Prior has been crafting
strange anatomies for thirteen years.
She completed her PhD in Visual Arts
at the University of South Australia in
2014. In 2016 she spent several months
on residency in Italy as the recipient of
the Helpmann Academy British School in
Rome Residency, which continues to be a
rich vein of inspiration for her practice.
Image: Deborah Prior, 2020, Easter in the
Anthropocene. Photo: Courtesy of the artist
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Margarita Sampson
Biography
Margarita Sampson works predominantly
in soft sculpture & contemporary jewellery.
Her work is strongly influenced by her
Norfolk Island background, referencing
natural forms, patterns & textures, in
particular underwater lifeforms.
“I’m interested in the idea of colonisation,
growth, opportunistic expansion, the
organic versus the inorganic, taking over
spaces and recontextualising them. I
don’t like to be too specific with the forms
in my work, I like them to be suggestive
enough of any number of possibilities
so that the viewer brings their own story
and imagination to the party.... then the
work starts to resonate, through that
conversation. If a work answers, its own
questions it’s dead.”
Image: Margaret Sampson, Olympia, 2020.
Photo: Courtesy of the artist
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Mark Smith and Dell Stewart
Biography
Working across painting, ceramics, mixed
media, video and soft sculpture, Mark
Smith’s primarily figurative works are
concerned with how the physicality of
the body relates to human nature and the
human condition. Smith considers the
body a nonnegotiable starting point for
existence, using the primitive vessel to
explore the truly distinctive characteristics
of being human. Within this framework
Smith addresses the experiences and
complexities of the individual and of
humanity as a whole, as well as examining
the ‘language’ of a subtle movement or
position. Working purely from feeling or
emotion rather than a model or image,
Smith’s works possess an intrinsic nature
or indispensable quality that imbues them
with a deep sense of character.
Dell Stewart’s work combines various
processes often regarded as belonging
to the world of craft (ceramics, textiles,
animation) with a deeply embedded
personal history. These practices and
references assemble in immersive
environments, often offering no clue
to the boundary between the artwork
and the space it occupies. A personal,
subjective symbology pervades the work
making each iteration another chapter in a
narrative of a life lived doing.
Mark and Dell came together in artistic
collaboration to create an artwork
especially for the Tamworth Textile
Triennial Tension[s] 2020. The resulting
Love mobile was created in the spirit
of learning and working together, and
celebrating the complications and
tensions implicit in any relationship. Love
mobile uses soft hand-stitched forms,
oversized stuffed letters and sculptural
fabric elements linked through a complex
web of handmade ropes to represent
connections, networks and relationships
The work takes the form of an oversized
mobile; continually moving and changing,
it embodies the role of chance in
encounters, understandings and the
formation of connections between people.
Image: Love Mobile, 2020, Mark Smith and
Dell Stewart, ice-dyed cotton, polyester fill and
trims, cotton rope, dimensions variable. Photo:
Courtesy of Tamworth Regional Gallery
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Jane Théau
Biography
Jane Théau develops sculptural
installations, such as her on-going series
of large-scale embroidered Threadworks.
Jane said, ‘Given my conceptual concern
with sustainability, I enjoy the fact that
these textile works use very little material,
and weigh but a few grams, even as
room-sized installations… I particularly
appreciate the metaphorical qualities
of textiles: the ravelling and unravelling,
the weaving and fraying, the mending
and rending.’ Jane has a Master of Art
(Sculpture) from the College of Fine Arts
(COFA), University of NSW, a Master
of International Affairs from Columbia
University and a Bachelor of Applied
Science from the University of Technology
Sydney. She has actively exhibited in solo
and group exhibitions since 2009, was a
finalist in the 2011 Powerhouse Museum
International Lace Award, and curated
2015’s Y Fibre, an exhibition of male textile
art at the Ewart Gallery in Sydney.
Image: Jane Théau, Anca (detail), 2020. Photo:
Courtesy of the artist
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Tjanpi Desert Weavers | Dianne Ungukalpi Golding,
Judith Yinyika Chambers, Joyce James, Charlotte
Golding
Biography
Tjanpi Desert Weavers is a social
enterprise of the Ngaanyatjarra
Pitjantjatjara Yankunytjatjara (NPY)
Women’s Council, working with women
in the remote Central and Western
desert regions who earn an income from
contemporary fibre art. Tjanpi (meaning
grass in Pitjantjatjara language) represents
over 400 Anangu/Yarnangu women artists
from 26 remote communities on the NPY
lands.
Tjanpi artists use native grasses to make
spectacular contemporary fibre art,
weaving beautiful baskets and sculptures
and displaying endless creativity and
inventiveness. Originally developing from
the traditional practice of making manguri
rings, working with fibre in this way has
become a fundamental part of Central and
Western desert culture.
desert weaving phenomenon and have
fuelled Tjanpi’s rich history of collaborative
practice.
Tjanpi has a public gallery in Alice
Springs showcasing baskets, sculptures,
jewellery, books, merchandise and more,
while Tjanpi artworks are also found
at stockists around the country. Tjanpi
regularly exhibits work in national galleries
and facilitates commissions for public
institutions.
Tjanpi embodies the energies and rhythms
of Country, culture and community. The
shared stories, skills and experiences
of this wide-reaching network of
mothers, daughters, aunties, sisters and
grandmothers form the bloodline of the
Image: L-R: Joyce James, Charlotte Golding,
Dianne Golding with Pitja Nyawa Kulila Pampula
in Warakurna, WA. Photo: Courtesy of the artists
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Yinarr Maramali Gomeroi Community
Biography
Yinarr Maramali (YML) is a Gomeroi
women’s business based on Country
(Tamworth, NSW), who support the
wellbeing of their Community and
Country through the continuation of
their ancestral weaving culture. Bringing
together generations of yinarrgal (women)
and miyaygal (girls), who connect and
share their stories through hand-woven
creations and artworks. Using only natural
materials collected by hand from Country
and ethically sourced materials that are
gentle on the environment.
Yinarr Maramali is 100 percent owned and
operated by local Gomeroi Yinarr. Every
weaving purchase supports the YML
Weavers and their cultural community
programs.
Image: Yinarr Maramali, Weaving Warrabah,
2019. Lomandra, water vine. Photo: Miranda
Heckenberg
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List of works
1-10 Sai-Wai Foo
Children of the Sun, 2020
All works on half scale
mannequins
$12,000
5 Sai-Wai Foo
Tang Suit, 2020
Metallic brocade, trim,
tassel, metal chain, resin
bead, satin, elastic, cotton
webbing, lead weight,
thread
1 Sai-Wai Foo
Dragon Lady, 2020
Brocade, metallic, frog buttons,
metallic fabric, thread
6 Sai-Wai Foo
Blosson Woman, 2020
Metallic brocade, frog
buttons, glass beads,
vintage trims, gold work,
tassels, paint, metal studs,
lead weight, thread
2 Sai-Wai Foo
Suzy Wong, 2020
Lurex knit, metallic fabric, cotton
webbing, thread, (A nod to
Modern Cheongsam or Qi Pao
in the 1960 film World of Suzie
Wong)
3 Sai-Wai Foo
Crazy Rich Asian, 2020
Gold fabric, vinyl, chain, satin,
snap buttons, heavy card,
adhesive, woven trim, tassel
thread
7 Sai-Wai Foo
Dowager, 2020
Brocade, metallic, frog
buttons, metallic fabric,
sandalwood fan, metal
chain, lead weight, thread
8 Sai-Wai Foo
Ideal Student, 2020
Cotton fabric, metallic
fabric, cotton webbing,
tassels, wadding, snap
button, plastic beads,
thread
4 Sai-Wai Foo
Old Guard, 2020
Gold fabric, metal buckle, thread
9 Sai-Wai Foo
Tiger Mother, 2020
Organza, metallic, trim,
gold work, embroidery,
applique, metal thread,
elastic, thread
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10 Sai-Wai Foo
Qing Style Dress, 2020
Brocade, metallic, frog buttons,
metallic fabric, thread
11 Yinarr Maramali Gomeroi
Community
Weaving Warrabah (Short Neck
Turtle), 2019
Lomandra and Water vine
NFS
15 Armando Chant
Topographic Reflections Day
(white), 2020
Screen printed silk, digital
printed silk and wool, silk
hand embroidery, needle
felting
$15,000
16 Margarita Sampson,
Olympia, 2020
Video tape, textiles, wood,
steel
$28,000
12 Mark Smith with Dell
Stewart | Arts Projects Australia
& Australian Tapestry Workshop
Love mobile, 2020
Ice-dyed cotton, polyester fill and
trims, cotton rope, eucalyptus
branches
NFS
17 Elisa Markes-Young
Comforter #02, 2020
Tulle, Chiffon, organza, wool,
paper, gold foil, sequins, bead
and thread
$3000 (#18-20)
13 Armando Chant
Topographic Reflections film,
2020
Aerial film x 2 Night runs 9: 43
min & Day runs 11:33 mins
NFS
18 Elisa Markes-Young
Hugs and Kisses, 2020
Faux fur, calico, wool, silk,
sequins, beads, cotton and
polyester thread
14 Armando Chant
Topographic Reflections Day
(black), 2020
Screen printed silk, digital
printed silk and wool, silk hand
embroidery, needle felting
$5,000
19 Elisa Markes-Young
The Original Place #09/5, 2018
Fabric, paper, hand
embroidery, sequins, beads,
faux fur, gold foil and thread
49

List of works
20 Elisa Markes-Young,
Memory of a Memory edition 2/5,
2020
Hand finished artist book
25 Julie Briggs & Kelly
Leonard
Curation of Shadows, 2020
Linen, burnt remnants and video
$10,000
21 Georgia Chapman
My place, 2020
Acrylic paint and foil hand
painted details, Digital
sublimation print on canvas
$5,000
22 Julie Montgarrett
Grim Harvest: plundered wealth
and squandered plenty, 2020
Screenprinted silk organza,
fabric remnants, found blankets,
lace Kantha stitched, small
cushions and ceramic bowls
$18,000
23 Erica Gray
Immortal coil, 2020
Cotton, polyester, pearl beads
& 3D printed bones, plastic on
mount
$5,000
26 Tjanpi Desert Weavers
| Dianne Ungukalpi Golding,
Judith Yinyika Chambers, Joyce
James, Charlotte Golding
Pitja Nyawa Kulila Pampula (Come
Look Listen Touch), 2020, Tjanpi
(grass), raffia, hemp yarn, steel
and wire
$15,000
27 Tina Fox
Crochet Machine, 2020
Aluminium, linen, thread,
recycled polyester, LCD monitor,
wood, rubber foam
$8,000
28 Jane Théau
Anca, 2020
Video
$2,000
24 Anne Ferran
Plains Wanderer from Bird- like
Series, 2020
Pigment print on canvas.
Performer Kirsten Packham
NFS
29 Jane Théau
Anca (bojande), 2020
Tarlatan, silk organza, thread
and wire
$4,000
50

30 Jane Théau
Anca (vridande), 2020
Tarlatan, silk organza, thread
and wire
$4,000
35 Linda Erceg
Biomorph, 2020
Mixed plastics
POA
31 Jane Théau
Anca (I flykt), 2020
Tarlatan, silk organza, thread and
wire and projector
$4,000
36 Dianne Firth
Blown by the Wind #4, 2020
Netting, material stitching
$6,000
32 Soraya Abidin
Guardians of Wellbeing, 2020
Mixed Asian silks, Peranakan
glass beads, vintage hemp, raffia
and Swiss straw
$5,000
33 Deborah Prior
Easter in the Anthropocene
(squatter blanket #1), 2020
Archive of plant labels, found
woollen blankets (Onkaparinga
and Laconia brand) yarn and
sellotape
NFS
34 Gillian Bencke
A case, 2020
Linen, wool, cotton, nylon, felt,
silk, sequins, beads, pins, copper,
brass, bronze polymer clay and
clay
$25,000
51