Andrew Nicholls (Project Curator) is an artist, writer and curator whose practices engage with the sentimental, camp and other historically-marginalised aesthetics, while tracing the historical recurrence of particular aesthetic tropes in Western visual culture. While primarily drawing-based, his practice also incorporates ceramics, photography and filmmaking. He particularly draws inspiration from heritage sites and museum collections, and has coordinated residencies at locations including Greenough Hamlet (Australia’s third-most-significant heritage site), Spode China (the UK’s longest-running ceramics factory still based in its original location), the Midland Railway Workshops (the southern hemisphere’s most intact remaining Edwardian industrial site), the Freud Museum London, and the Brighton Pavilion. Nicholls has exhibited across Australia, Southeast Asia, Italy and the United Kingdom, including solo exhibitions in Australia and England. He has been the recipient of two Creative Development Fellowships from the Western Australian Government, and undertaken several commissions in Western Australia and the United States, most recently a $250,000 ceiling mural for the City of Perth Library. In 2009 he published a limited edition monogram documenting the first decade of his practice, Love Andrew Nicholls, drawn works 1998-2008. Nicholls has curated projects for organisations including the Art Gallery of Western Australia, the Perth Institute of Contemporary Arts, and Object Galleries Sydney, and has written for all of Australia’s major national arts publications. His work is represented in collections including the Art Gallery of Western Australia, Brookfield Multiplex, Edith Cowan University and the City of Perth.
Thea Costantino‘s art practice encompasses drawing, sculpture, video, animation, photography and costume design, written works of fiction and non-fiction, musical theatre librettos and plays, and curatorial projects. She has exhibited and undertaken residency projects across Australia, Europe and the United States both in a solo capacity and collaboratively, as part of artist collective Hold Your Horses. Costantino’s artwork investigates cultural memory; the remembrance of the past and how it can be re-envisioned with reference to marginalised aspects of the historical record. Most recently she has focused on the history of Australian colonialism and the complicity of women under the British Empire. She is known for her deft graphite drawings and the trademark use of wax to create uncanny sculptural forms that are sometimes also the subjects of photographic works. Costantino has received numerous grants and prizes including a 2011 Qantas Foundation Encouragement of Contemporary Australian Art Award, the 2013 Hutchins Art Prize and a Mid-Career Creative Fellowship from the Department of Culture and the Arts in 2015. In 2012 she undertook a two-month residency in Berlin, researching toward an exhibition at the Akademie der Künste in celebration of the 200th birthday of Richard Wagner, and undertook Artsource’s prestigious Gunnery Exchange. In 2013 she undertook residencies at the Freud Museum London and Glasgow Sculpture Studios, was invited to participate in the University of Queensland’s prestigious National Artists’ Self Portrait Prize. Her 2014 solo exhibition, Daughters of the Empire resulted in sales to major Australian collections including The Art Gallery of Western Australia, the City of Perth, the Cruthers Collection of Women’s Art and Murdoch University. In 2015 she will exhibit in An Internal Difficulty: Australian Artists at the Freud Museum London at the Perth Institute of Contemporary Arts as part of the Perth International Arts festival, will present a solo exhibition, Foreign Soil, at the John Curtin Gallery, and will participate in an artists residency at the Brighton Museum and Art Gallery and Brighton Pavilion. Costantino works in the School of Design and Art at Curtin University of Technology.
Susan Flavell is one of Western Australia’s most accomplished mid-career artists. Over the course of a twenty-year practice she has mastered a formidable range of skills and techniques, including aluminium, bronze and pewter casting, hand-built and cast ceramics, drawing, watercolour, textiles and her trademark use of cardboard to create hauntingly powerful, large-scale sculptures. Flavell’s work explores animal and human forms, the real, the hybrid, the fantastic, the monstrous and the mythical. The combination of sculpture and drawing has been a major focus of her practice over recent years, while the history of ceramic and bronze figurines has influenced the development of a major series of small-scale works. In addition to An Internal Difficulty, her experience at The Freud Museum London inspired Freud’s Desk, a highly-acclaimed exhibition of over 100 small sculptures, prints and textile works reinterpreting Freud’s collections, at Turner Galleries in 2013. Flavell has been the recipient of numerous grants and awards including Artsource’s prestigious Basel, Switzerland Artist’s Residential Exchange in 1993, and the Mark Howlett Foundation Commission for 2009. She has undertaken numerous public art commissions across Western Australia and her work is represented in collections including The Art Gallery of Western Australia and the City of Perth.
Tarryn Gill is a multidisciplinary artist from Perth, Western Australia. As a solo artist and through her collaborations with Pilar Mata Dupont and production company Hold Your Horses, she has exhibited works and undertaken residency projects across Australia, in Argentina, France, Germany, Portugal, the United Kingdom, the United States, Canada and Japan. Notably, she has shown work at the Akademie der Kunste, Berlin; in the the 17th Biennale of Sydney, 2010; at the Art Gallery of Western Australia; the Museum of Contemporary Art, Sydney; the Tokyo Metropolitan Museum of Photography; the Gallery of Modern Art, Brisbane; and at the Centre Pompidou, Paris and Art Basel, Miami as part of the A Shaded View on Fashion Film Festival 4. Gill and Mata Dupont have been widely recognised for their engaging theatrical, performed, musical, photographic and filmic works that explore the dynamics of spectacle and nationalism. In 2010 they won the coveted $100,000 Basil Sellers Art Prize and in 2011 they held a 10-year retrospective, STADIUM, at the Perth Institute of Contemporary Arts. The pair are represented in collections including Artbank, the Art Gallery of Western Australia, the City of Perth, Kerry Stokes Collection, Murdoch University, Queensland Art Gallery and Stadiums Queensland. In 2012 Gill undertook solo studio residencies at the Banff Centre, Canada and at the Australia Council Tokyo Studio, Japan and held a solo exhibition at XYZ Collective, Tokyo. During 2013 she undertook design roles with theatre companies The Last Great Hunt and Hydra Poesis, in addition to participating in a group artists’ residency at the Freud Museum, London. Her highly-lauded 2014 solo exhibition at Moana Project Space, Perth, You’ll Be Sorry When I’m Dead, resulted in sales to Artbank, Wesfarmer Arts and the Art Gallery of Western Australia, and a cover story in Art Collector Magazine. In 2015 Gill will undertake a residency at the Brighton Museum and Art Gallery and Brighton Pavilion. She is also a 2015 recipient of the David & Margery Edwards Trust, allowing her to spend 3 months in residence at the International Studio & Curatorial Program (ISCP) in New York City.
Dr Travis Kelleher is an academic, writer, and curator based in Perth, Western Australia. He has won national awards in teaching and curriculum development, and his research interests include aesthetics and failure, intangible cultural heritage, and histories of domestic interiors. Kelleher is currently working, through FORM, in the fields of ICIP, ethical data management, and community engagement with arts and culture. Kelleher has curated exhibitions for institutions including the Perth Institute of Contemporary Arts, and has exhibited photographic and film works as a solo artist and in collaboration with Andrew Nicholls.
Pilar Mata Dupont is an artist based between Western Australia and the Netherlands whose work investigates ideas of nationalism, identity, and the psychological triggers of nostalgia through the use of parable and highly theatrical and cinematic methods. As part of her collaboration with Tarryn Gill, she participated in the Sydney Biennale and won the Basil Sellers Art Prize in 2010, and had a ten-year retrospective of their collaborative work at the Perth Institute of Contemporary Arts in 2011. In partnership with Thea Costantino and Gill as multi-artform collective Hold Your Horses, she made work commissioned by the Akademie der Künste in Berlin, 2012, for the exhibition Wagner 2013: Künstlerpositionen, commemorating the 200th anniversary of the birth of Richard Wagner. Since 2012 Mata Dupont has traveled extensively, researching and producing new solo works in Argentina, Australia, Austria, Finland, Germany, North and South Korea, the United Kingdom and the United States. That year she was a recipient of a Mid-career Fellowship from the Western Australian Government allowing her to investigate her turbulent family history in Argentina. A survey of her solo video works were shown as part of the CineB Film Festival in Santiago, Chile in late 2013 and her most recent solo exhibition, Pilar Mata Dupont – Kaiho, opened at the Pori Art Museum, Finland in late 2014. Also in 2014 she was a finalist in the Blake Prize and in 2015 was one of ten nominees for the main prize at the prestigious Spring Exhibition at the Kunsthal Charlottenborg, Copenhagen. Other recent exhibition highlights include the SeMA Biennale – Mediacity Seoul, at the Seoul Museum of Art; Salon Fluchthilfe, at the Secession museum in Vienna; and making commissioned work for The List, at Campbelltown Arts Centre, NSW. Mata Dupont is represented in the collections of the Art Gallery of Western Australia, Campbelltown Arts Centre, and the University of Western Australia. Gill and Mata Dupont additionally have collaborative work in collections including Artbank, Stadiums Queensland, the Art Gallery of Western Australia, the City of Perth and the Kerry Stokes Collection.
Sculptor Nalda Searles is a living icon, internationally renowned as a visionary in the field of Australian fibre art. Searles makes use of found materials from the Australian landscape in the creation of three-dimensional works with resonant psychological power. Alongside her solo practice she has collaborated extensively with senior Wongi painter Dr. Pantjiti Mary McLean and Indigenous communities across Australia’s Central and Western deserts. Searles established her art practice in the 1970s, teaching herself weaving techniques from books. She soon received funding from the Australia Council for the Arts to travel alone to the remote Western Australian bush and create a series of works using only what she found in the landscape. This experience would inform her art practice over the ensuing decades and inspire generations of Western Australian artists to undertake remote ‘bush camps’ for creative inspiration. Searles is highly sought after as a guest speaker and workshop coordinator in fibre and textile technique, basketry and cloth figure-making. In 2009 Searles’ highly-acclaimed solo exhibition, Drifting in my Own Land began a four-year Australian tour, accompanied by a retrospective catalogue of her practice to date. That same year Searles was awarded an inaugural Artsource Lifetime Achievement Award for her contribution to Western Australian visual art, and in 2011 she was one of a hand-selected group of arts industry representatives invited to Queen Elizabeth II’s reception at Perth Government House. Searles’s work is represented in numerous collections including The Art Gallery of Western Australia, the National Gallery of Australia, the Lodz Museum Textile collection, Poland, and the Museum of Craft, Itami, Japan.