Open Studios is PICA’s most popular series of artist talks that connect you personally with our current studio residents and provide invaluable insight into the artists’ processes and practices.
To coincide with the exhibition Hatched: National Graduate Show 2020, Perth-based Hatched artists Saleheh Gholami, Annie Huang and Siahne Rogers have taken up residence in Studio Two. At this Open Studio, they will be speaking with Hatched Curatorial Fellow Miranda Johnson about their practices, their experiences working together in the studio and their plans for the future as they forge careers in artistic practice and research. Refreshments will be provided, with the opportunity to meet the artists and hear directly from them about the experience exhibiting in Hatched 2020.
Annie Huang is a Chinese-Australian artist working with multimedia installations. Her practice largely stems from the navigation of her identity as a person of Chinese ethnicity born and raised on Wadjuk land. Huang’s current work is interested in the slippery identity of foreigners, the alien and strange, through an experimentation with materials and forms. Her artworks are fluid and ambiguous in nature, working between digital projections, narrative mediums such as animations and graphic novels, and sculpture. Huang is completing a Master’s by research in Fine Arts as a recipient of the Australian Government RTP stipend scholarship at UWA.
Saleheh Ghomali is a Perth-based artist working with an interdisciplinary practice. She recently graduated with a Bachelor of Fine Arts (Honours) from the University of Western Australia. Her practice ranges from installation, video and performance art, as well as documentary film-making.
Saleheh’s video and performance practice looks at the refugee evoke something of the unconscious process by which the refugee takes shape in the public imagination.
Saleheh’s current research and practice examines the relationship between political activism and the poetry and emotion of the lived experience of refugees, with a focus on the significance of sites of detention centres.
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.
