Camouflage Cultures Exhibition, 8 - 31 August 2013
Robyn Backen’s Robyn Backen is a Sydney-based artist and recent recipient of the Australia Council Fellowship for 2012-14. Backen’s new body of work evolves from her research into the acoustics of ancient whispering architecture. Her installations are often technologically complex yet are minimal in appearance. Systems become the subjects of her work, like those of language and code, classifying, remembering. Robyn Backen has shown in many national and international exhibitions including Australian Perspecta (1991 and 1997); Spirit and Place, Museum of Contemporary Art, Sydney (1996); Flow, National Gallery Kuala Lumpur, Malaysia (2000); Echigo-Tsumari Art Triennial, Japan (2003); Imagining Prometheus, Milan, Italy (2003); Whispering Trees, De Overkant, Den Haag Sculptuur, Holland (2007); Exposure, Rejmyre, Sweden (2011); Sookmyung Women’s University Gallery, South Korea (2011); Daya / Kindness: Australia-India a cultural exchange, Habitat Centre, New Delhi, RMIT Gallery, Melbourne (2012) and Whisper Pitch, Performance Space Carriageworks, Sydney (2012). She has completed many large public commissioned artworks such as Weeping Walls, Sydney International Airport (2001) and Delicate Balance at Ballast Point Park for the Sydney Harbour Foreshore Authority (2009) and Walls that Whisper, Museum of Democracy at Old Parliament House (2009). Recently she was commissioned to create a site specific performance Last Word 2012 for Siteworks, Bundanon and Night Watch which is a permanent work at the new ATO building in Brisbane CBD. Robyn Backen coordinates the Masters of Studio Art at Sydney College of the Arts.
Maria Fernanda Cardoso
Maria Fernanda Cardoso is a leading Latin American and Australian artist who lives and works in Sydney. She graduated with an MFA in Sculpture from Yale University, USA in 1990. In 1995 she was catapulted to worldwide fame with the Cardoso Flea Circus when it was premiered at the San Francisco Exploratorium, an art and science institution in California. She has exhibited in over 25 countries world in institutions asprestigious as NY MoMA, the New Museum of Contemporary Art in New York, PS1,New York, the San Francisco Exploratorium, the Centre Georges Pompidou, Fundacion La Caixa in Barcelona, the Centro Reina Sofia in Madrid. Last year her large scale project, the Museum of Copulatory Organs, was the highlight at the 18thBiennale of Sydney, attracting crowds of over a quarter million visitors and enormousmedia attention including a half hour ABC Artscape documentary titled The Wonderful World of Professor Cardoso. In 2000 the New York Museum of Modern Art commissioned a major installation, Cemetery/Vertical Garden, part of MoMA’s millennium show, Modern Starts: People Things Places. In 2003 the Museum of Contemporary Art, Australia, held an extensive solo show titled Zoomorphia. In 2004 she represented Colombia at the Venice Biennale exhibiting an installation of starfish titled Woven Water, now part of the collection of the National Art Gallery of Australia. Recently her work with Emu feathers has earned her two prizes: one for her Fashion and Mimesis exhibition at Rodman Hall, Canada, and another for the exhibition Dead or Alive at the Museum of Art and Design in New York. Selected collections include the Tate Gallery, London; the Museum of Contemporary Art, Australia; the National Art Gallery of Australia, Canberra; the Museum of Contemporary Art, San Diego; the Miami Art Museum; and Museum of Modern Art, Bogota, Colombia. For more information visit:
Maria Fernanda Cardoso
The Museum of Copulatory Organs
Debra Dawes holds a Doctorate of Creative Arts from the University of Wollongong and a Graduate Diploma in Visual Arts from Sydney College of the Arts, where she studied painting in the mid-1980s and was at the same time co-director of Union Street Gallery in Sydney. In 1982 she was awarded a Diploma in Visual Art from the Newcastle College of Advanced Education. Dawes has been a recipient of numerous Australia Council grants. Her work is represented in several collections including the Art Gallery of New South Wales, National Gallery of Victoria, Queensland Art Gallery, Art Gallery of Western Australia, National Gallery of Australia and New England Regional Art Museum, Armidale. Dawes’ work has been included in major exhibitions at the Art Gallery of New South Wales, MCA, The National Gallery of Victoria, Art Gallery of South Australia, University Art Museum, The University of Queensland, Institute of Modern Art, Brisbane and Monash University Gallery, Melbourne. In 2005, Debra Dawes held a survey exhibition, Everydaynow, at the DrillHall Gallery, Australian National University, Canberra. A full colour catalogue accompanied the exhibition with a new essay by Helen Grace. In 2006, Dawes' work was included in the Adelaide Biennial, 21st Century Modern exhibition. In 2007, Dawes was included in the MCA's Cross Currents: Focus on Contemporary Art exhibition. Her most recent solo exhibition in two parts, At Her Majesty’s Pleasure, was shown at Turner Galleries, Perth in 2012 and at Gallery Barry Keldoulis, Sydney in 2012. Dawes is Director, Graduate School, Sydney College of the Arts, the University of Sydney. For a detailed CV and illustrated information about Dawes' work please go to Debra Dawes' website.
Alex Gawronski is an artist, writer and academic based in Sydney. Gawronski has held solo exhibitions at Artspace, The Art Gallery of NSW, Performance Space, Macquarie University Art Gallery, Peloton, the Institute of Contemporary Art Newtown (ICAN), Scott Donovan Gallery, 55 Sydenham Rd Marrickville, Sydney; the Australian Experimental Art Foundation (AEAF), Adelaide; Death be Kind, 200 Gertrude St, Melbourne; The Physics Room, Christchurch, NZ and the British School at Rome, Italy. Group exhibitions of Gawronski’s include Black Square – 100 Years, the Australian Experimental Art Foundation (AEAF), Adelaide (of which he was co-curator with Iakovos Amperidis); Look This Way, UTS Art Gallery, Sydney (co-curated with Biljana Jancic); Living in the Ruins of the Twentieth Century, UTS Art Gallery; Atelier Paris, University of Sydney Art Gallery; Easy Listening, Westspace, Melbourne; Formal Intensity, Tsagaandarium Art Gallery and Museum, Ulaanbaatar, Mongolia; ICAN Occupy’s EIDIA, Plato’s Cave (EIDIA House) Brooklyn, NY, USA; We are all Transistors, Aratoi/Wairapa Museum of Art and History, Masterton NZ; Mirror/Mirror, University of Sydney Art Gallery, the Institute of Modern Art (IMA), Brisbane and the Samstage Museum, Adelaide; Diorama of the City - Between Site and Space (part 1), Tokyo Wonder Site Tokyo (TWS), Japan; Helen Lempriere Sculpture Award, Werribee, Melbourne; Situation, The Museum of Contemporary Art (MCA), Sydney; Primavera, Museum of Contemporary Art (MCA), Sydney; Art/Music: Rock/Pop/Techno, Museum of Contemporary Art (MCA), Sydney. Gawronski also publishes widely and is a regular contributor in particular to Broadsheet (pub. the Contemporary Art Centre of Australia (CACSA)) and Column (Artspace, Sydney). In addition, Gawronski has a long-standing history as co-founding director of a number of independent artist initiatives including Blaugrau (2000-01), Loose Projects (2005-06) and currently the Institute of Contemporary Art Newtown (ICAN) (2007- ). Gawronski currently lectures in Painting at Sydney College of the Arts, the University of Sydney. A monograph of Gawronski's collected writings and art will be published by Artspace, Sydney in 2014.
Shaun Gladwell is an Australian-born, London-based artist who works in a number of mediums, including painting and photography, but he is best known for his video installations concerning improvised and choreographed performances of the body in motion, set against the backdrop of particular sites ranging from architectural environments to the landscape. He has exhibited widely in Europe, North and South America, and in the Asia Pacific Region. Gladwell represented Australia at the 53rd La Biennale di Venezia (2009) and recent exhibitions include Cycles of Radical Will, De La Warr Pavilion, UK (2013), Walking Sideways, Institute of Contemporary Arts, London (2013), On Apology, Wattis Institute, San Francisco (2012), South by Southeast: Australasian Video Art, Tokyo Metropolitan Museum of Photography (2011), Perpetual 360° Sessions, SCHUNCK*, Heerlen, the Netherlands (2011), Shaun Gladwell: Matrix 162, Wadsworth Atheneum, Connecticut (2011), Stereo Sequences, Australian Centre for the Moving Image, Melbourne (2011), Revolutions – forms that turn, 2008 Biennale of Sydney, curated by Carolyn Christov-Bakargiev (2008), Space for Your Future, curated by Yuko Hasegawa, Museum of Contemporary Art, Tokyo (2008), Think with the senses, feel with the mind – art in the present tense, 52nd International Art Exhibition, curator Robert Storr, La Biennale di Venezia (2007). Gladwell's work is held in numerous public and private collections internationally. Shaun Gladwell is represented by Anna Schwartz Gallery.
Sarah Goffman is a Sydney-based artist, born in 1966. Since 1992 her exhibition history in Australia and overseas has been extensive. Past roles include a co-director of Elastic Projects, founded in 2000, and Firstdraft gallery. A large range of works centre around site-specific projects and installation with mixed media; predominantly using trash and re-contextualised found objects and focusing on consumer exchanges and the metaphysical. She writes and performs as Lucy the psychiatrist from the cartoon Peanuts. In the last four years she has been a recipient of artist residencies in Japan, looking at customs and aesthetics, and collecting packaging which she has transformed as well as replicated. She has undertaken residencies at Bundanon, Queenstown, Tasmania as part of LARQ, Performance Space at Carriage Works, the Australia Council studio in Tokyo and Asialink’s Tokyo Wondersite. In 2011 she was included in an off-site Yokohama Triennale project in Shin-Minatomira and the Bank Art Project, Life 3, curated by Bec Dean from The Performance Space. She is a trash collector/converter, seeking objects to be used in her exhibitions, focusing on the everyday and the surreal. Sarah is currently undertaking a Doctorate in Creative Arts at University of Wollongong. In 2013 she was part of Workout at the Museum of Contemporary Art, Sydney and Microparks in Erkineville as part of the Sydney Festival. Upcoming exhibitions include Janis 2, curated by Kelly Doley with The Commercial Gallery and Mclemoi Gallery in Chippendale and Opp Shop at Maitland Regional Gallery curated by Fiona Davies. The work for Camouflage Cultures includes four hundred pieces from her collection, found objects, altered objects, original artworks by other artists and copies of other artist’s works.
Emma Hack is an Adelaide-based artist working in the unique medium of body paint installation and photography. Exhibiting extensively throughout Australia since 1999, Emma’s astounding artworks have since captured the attention of collectors and art lovers worldwide. In 2013 Emma Hack achieved sell out status at Affordable Art Fair Hong Kong, as well as hugely successful art fairs in Brussels and Milan. Emma has received great acclaim for her refined body paint camouflage technique; through a combination of painting on canvas, body painting and studio-based photography, her work evokes a rich array of visual narrative and magical realism. Best known for her Wallpaper series (2005-2010) - in which she painstakingly camouflaged the human form by hand painting her models into the remarkable designs of the late Florence Broadhurst - Emma Hack’s diverse artwork collections draw inspiration from the unique Australian flora and fauna, as well as Oriental influences. Emma Hack’s collaboration with Grammy award winning musician Gotye resulted in the iconic music video for Somebody That I Used to Know, which has been viewed by over 350 million people worldwide, raising her profile in the US, UK and Europe. Emma has since worked on major artistic commissions for Motor Accident Commission, South Australia, Hollywood Private Hospital and Natura, Brazil and has an upcoming commission with the WA Ballet. She will hold solo exhibitions this August and September in Hong Kong And Taiwan. Emma Hack has exhibited at ART Sydney (2008, 2009, 2010, 2011), ART Melbourne (2009, 2010, 2011, 2012), and internationally, at ART London (2011), ART Singapore (2011 2012) and the Affordable Art Fairs, New York (2011 2012), Toronto (2011 2012), Mexico (2012), Amsterdam (2012), Stockholm (2012), Milan (2013), Hamburg (2012), Brussels (2013) and Hong Kong (2013). Emma Hack is represented by galleries throughout Australia, as well as London, New York, Singapore and Hong Kong. Her work is held in numerous private and corporate collections globally.
Ian Howard is a Professor at the College of Fine Arts (COFA), University of New South Wales. Previously, he has been the Dean of COFA and Provost and Director of the Queensland College of Art (QCA), Griffith University. Ian trained as an artist and art educator in Sydney, London and Montréal andhas been a practicing artist since the late 1960s, concentrating on the theme of the relationship between civilian and military cultures, and their material and symbolic products. This has meant working closely with defense and security forces in Australia, the US, Europe and China. Of particular interest has been the role and place of borders throughout history and in the present day, that is, walls and enforcing vehicles in relation to both territory and population movements. Described as "experimental realism" his wax rubbings produce direct replications, albeit on paper or canvas, of the real thing: the Berlin Wall; a Russian T59 tank; a U.S Navy F14 Tomcat air superiority fighter and the Chinese/North Korean border at Changbai Mountain for example. He is represented by Watters Gallery in Sydney and Charles Nodrum Gallery, Melbourne. His art works are included in state, national and international museums and collections. Ian is currently Chair of the National Association for the Visual Arts (NAVA), and a Board Member of the Australian Council of University Art and Design Schools (ACUADS). Previously, he has been a member of: the Visual Arts Board of the Australia Council; the Board of the Australian Centre for Photography: and Chairperson of the State Government Visual Arts Committee, Arts Queensland.
After training in design, and a career in communications and as an editorial writer, Jan Howlin began working with clay. Attracted by the plasticity of the medium and its potential for three-dimensional form and expression, she went on to complete a Bachelor of Arts with First Class Honours in 2006 and a Master of Fine Arts degree in 2010, both at Sydney College of the Arts. Since her graduation she has had one solo exhibition and has been included in numerous group shows. She and been a finalist in the Fauvette Laureiro Memorial Travelling Arts Scholarship, and in the North Sydney Art Prize. She currently makes and exhibits ceramic works that exploit the capacity of form to embody meaning, and is particularly interested in exploring issues associated with our everyday lives. While engaging with aesthetic aspects, she aims to imbue the objects she makes with constructs that resonate with viewers, generating thought, memories and emotional responses. Given the completely hand-made nature of her practice, Howlin works in a scale that relates comfortably to the body, and she enjoys the exploration of form, process and material. The subject matter she investigates through different bodies of work inevitably varies, as do the methods she employs in their realisation, and while she values the material quality of the objects she makes she believes technique only becomes relevant when it is inadequate. When it is sufficient, or more so, it is meaning that shines through. Along with her claywork she continues to write about people, design and ceramics.
Jonnie Morris is a director and editor with a passion for filmmaking and the environment. She has a double degree in Media (BA) and Biology (BSc) from Deakin University in Melbourne, as well as nine years professional experience directing and editing for advertising, documentary and television. She has worked with award-winning creative teams and for clients such as Adidas, Converse, Mercedes Benz, Fosters Australia, ESPN Classic, BBDO Melbourne, Mother London, Weiden+Kennedy, Ogilvy & Mather, VICE UK, VICE Australia, and Al Jazeera English. Since 2008, Jonnie has been freelancing internationally, and in 2010 she embarked on a five-month tour with Alexandra Cousteau's Expedition Blue Planet. With the grand-daughter of Jacques Yves Cousteau and a crew of dedicated environmental filmmakers, she travelled across North America editing a series of documentaries on critical water issues. More recently she has been directing and editing branded and editorial content for VICE Australia and USA as well as producing and directing Razzle Dazzle: The Hidden Story of Camouflage.
Justene Williams lives and works in Sydney and has been exhibiting nationally and internationally since 1991. Recent solo shows include: Static Ballet, Sarah Cottier Gallery, Sydney; Walk Like a Cow Drink Like a Fish, 1 Shanthi Road, Bangalore; Turnstile Heaped on Pour Down, St Paul Street Gallery, AUT, Auckland; “She Came Over Singing Like a Drainpipe Shaking Spoon Infused Mixers” in Outer Spaces, Christchurch Art Gallery, Christchurch. Some recent group shows include: We used to talk about love, Art Gallery of New South Wales, Sydney; Contemporary Australia: Women, GOMA, Brisbane; Behaving Bodies, UP Film Institute, The Philippines. Williams’ work is held in national and international collections. Residencies and prizes include: Maddocks Art Prize; Site Lab Residency Minto Mall,Campbelltown Arts Centre; Fauvette Laureiro Travelling Scholarship, University ofSydney. Recent articles and publications include: Mark Feary, “Setting All Levels at Maximum”, Art & Australia 49, no. 4 (2012); Sydney Magazine’s “100 MostInfluential People” (2011); Justin Paton, “Justene Williams”, Frieze 140 (2011). Williams is an Associate Lecturer at Sydney College of the Arts, the University of Sydney.