Throughout August Hatched artists Saleheh Gholami, Annie Huang and Siahne Rogers will be in residence in Studio Two.

ABOUT THE ARTISTS
Annie Huang is a Chinese-Australian artist working with multimedia installations. Huang is completing a Master’s by research in Fine Arts as a recipient of the Australian Government RTP stipend scholarship at UWA. Her practice largely stems from the navigation of her identity as a person of Chinese ethnicity born and raised on Whadjuk land. Huang is interested in the slippery identity of foreigners, the alien and strange. Her artworks are fluid and ambiguous in nature, working between digital projections, narrative mediums such as animations and graphic novels, and sculpture.
 
Saleheh Gholami is a Perth-based artist working with an interdisciplinary practice. She graduated with a Bachelor of Fine Arts (Honours) from the The University of Western Australia.
Her output ranges from installation, video and performance.
Saleheh’s video and performance practice looks at the refugee experience. Her practice is focused on how performance can evoke something of the unconscious process by which the refugee takes shape in the public imagination.
Saleheh’s recent project showcases the relationship between political activism and the poetry and emotion of the lived experience of refugees. Her practice is informed by legacies of conceptual and performance art and documentary film-making.
 
Siahne Rogers’ practice began on reflection of their extensive background in performing arts and circus theatre, and their outlook on the relationship between humour and everyday life. Often driven by a desire to encourage play, both mentally and sometimes literally for anyone involved, their practice is defined by a vocabulary around sculpture, performance and video. They use their willingness to move between mediums to assist in creating participatory works, gestural objects and interactive installations.
From self-inflicted pie-throwing machines to semi-fictional secret underground clubs, Siahne’s approach to a working methodology is filtered through their keen interest in exploring how the archetypes and historical context of slapstick step in as a familiar visual language and material play to seek the potential of alternative ways of articulating and re-articulating narratives on social contexts – in particular, relationships to futility, failure and lived experiences.