Janet Fieldhouse at Unsw Galleries


29.04.22 – 17.07.22

Janet Fieldhouse is presenting her work in the UNSW Galleries’ Pliable Planes: Expanded Textiles & Fibre Practices exhibition.

“Pliable Planes: Expanded Textiles & Fibre Practices’ is a major exhibition drawing together…the work of contemporary practitioners experimenting with the boundaries of materiality, spatial fluidity, and process.”

“Exhibiting artists reflect on the use of textiles to chart social and cultural change, responding to historical modes of production and representation, and underlying histories of domesticity and women’s labour. Works seamlessly incorporate traditional textile approaches including weaving, embroidery, knitting, and sewing while exploring broader conceptual and aesthetic possibilities. Through expanded painting, assemblage, performative gesture, sound, video and installation, ‘Pliable Planes’ presents contemporary Australian textiles and fibre art in expansive and plural forms, altering perceptions of materials, form and function.”
— UNSW Galleries website

Further information on the exhibition

Image: Janet Fieldhouse, portrait.

15.01.2022 – 05.06.2022

This is the first solo exhibition of Tylor’s work in the United States, curated by Marina Tyquiengco (CHamoru), Assistant Curator of Native American Art at the Museum of Fine Arts, Boston.

Read more about the exhibition and hear from the artist

Image: James Tylor, We Call This Place (Pintingga) 2020, from We Call This Place…Kaurna Yarta, daguerreotype with engraved text, 4 x 5 in.

Peel Street Park, Collingwood
After dark – midnight
Tuesday 15.03.2022 – Thursday 28.04.2022

View the video here

Discover more about the Peel Street Projection Program

Waa and Wattle by Kent Morris will be exhibited in Peel Street Park, Collingwood from Tuesday 15 March to Thursday 28 April 2022 with Yarra City Arts.

(Image: Kent Morris Waa and Wattle)

04.03.22 – 05.06.22

James Tylor and Rebecca Selleck are presenting their installation Warpulyainthi (Colonial Slavery in South Australia) at the 2022 Adelaide Biennial of Australian Art, Free/State, at the Art Gallery of South Australia.

Warpulyainthi is a site specific artwork that responds to the myth of South Australia as a “free state” – where no convicts were settled or used for labour – by acknowledging the use of slave labour by local Indigenous peoples, including the Kaurna people where the Art Gallery of South Australia sits. The installation is a colonial kitchen with edible flora and fauna from the Kaurna Nation cast in polished bronze, reflecting the forced removal of culture, land and physical liberty.

Currated by Sebastian Goldspink, Free/State assembles a group of artists who are fearless; the provocateurs, vanguards and outsiders – challenging histories and art forms, and in the process, offering reflections on an era of multi-faceted global upheaval. The exhibition explores ideas of transcending states, from the spiritual and artistic to the psychological, and embraces notions of freedom in expression, creation and collaboration.

The exhibition runs until 5 June. Further information at the AGSA Website

Image: Installation view of Warpulyainthi (Colonial Slavery in South Austraila) with James Tylor, 2022.

Maree Clarke’s installation Remember Me 2022 is currently showing at the Lorne Sculpture Biennale — Spirit of Place.

Situated along the walking trail to the pier in the seaside town of Lorne, Remember Me 2022 is a land based installation utilising the native trees lining the path to reflect – both literally and figuratively – upon the number and diversity of Indigenous languages in the state of Victoria.

The Sculpture Biennale runs from 12 March – 3 April 2022.

Further information is available at Lorne Sculpture

Image: Maree Clarke, Remember Me 2022, reflective acrylic paint, calico, tape, cotton thread

26.03.22 — 31.07.22

Hayley Millar Baker’s first film NYCTINASTY is premiering at the 4th National Indigenous Art Triennial: Ceremony at the National Gallery of Australia from 26 March – 31 July 2022.

Further information on the exhibition is available at National Gallery Australia.


“Representing the rhythmic movement of leaves or petals in higher plants in response to the onset of diurnal changes in light, Nyctinasty emblematically translates these crucial movements of self-preservation and survival to echo the ways humans face the delicate balance between the physical world and the spiritual realm, and centres female power and strength in reference to elements of the horror genre that is often focused on women’s psychosis.”


“Ceremony is testament that our culture has survived – not only over the many thousands of years but, particularly the last couple of hundred years – because of its capacity for innovation and adaptability”


Image: Hayley Millar Baker, Nyctinasty (still, detail) 2021

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