Tracey Moffatt Joins Sydney College of the Arts
Tracey Moffatt, one of Australia’s best known and most highly internationally acclaimed contemporary artists, has joined Sydney College of the Arts as a long-term research resident.
Renowned for her work in film, photography and video, Moffatt’s art is exhibited around the world in the most prestigious venues, from New York’s Museum of Modern Art and Guggenheim Museum, to London’s Tate Modern, as well as the National Gallery of Australia and the Art Gallery of New South Wales. Her films have been screened at the Cannes Film Festival, the Venice Biennale, the Dia Centre for the Arts in New York, and the National Centre for Photography in Paris.
Tracey will be at SCA for three years as an Honorary Associate to make new work, providing opportunities for students to work with one of the leading lights of the Australian contemporary art scene.
“We are delighted to welcome Tracey Moffatt, one of Australia’s foremost artists to SCA,” says Professor Colin Rhodes, Dean of SCA.
“The range of Tracey’s practice makes her a perfect fit for SCA, which has a reputation as one of the most innovative conceptual contemporary art schools in the region, with a prestigious history of teaching a significant number of Australia’s most successful and best known contemporary artists. Her practice-based research also aligns with several of our newly identified hotspots, including Contemporary Art and Feminism, and Space, Place and Country.”
“I am thrilled to be at SCA,” Tracey says. “I am enjoying the peaceful and concentrated working environment here on the incredible campus grounds. The mixture of thriving art school and location, with its spaciousness and the old sandstone buildings, are a true wonder of Sydney.”
Tracey’s most recent exhibition, Spirit Landscapes, opened on 12 September at Roslyn Oxley9 Gallery, Sydney.
“Spirit Landscapes has taken me two-and-a-half years to make. It is vast, with five different photo series and a moving image piece,” she says.
“The work explores the themes of spirituality and memory in the landscape, but I also engage with the supernatural. I have actually photographed real spirits, or what I say are spirits. I would go out very late into the night and fire the camera into the darkness. I couldn’t see anything, but shapes and forms would appear in my camera.”
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