a vapour? But when ourselves are the well that breathes out this exhalation, the oven that spits out this fiery smoke, the mine that spews out this suf- focating and strangling damp, who can ever, after this, aggravate his sorrow by this circumstance, that it was his neighbour, his familiar friend, his brother, that destroyed him, and destroyed him with a whispering and a calumniating breath, when we ourselves do it to ourselves by the same means, kill ourselves with our own vapours? Or if these occasions of this self-destruction had any contribution from our own wills, any assistance from our own intentions, nay, from our own errors, we might divide the rebuke, and chide ourselves as much as them. Fevers upon wilful distempers of drink and surfeits, consumptions upon intemperances and licentiousness, madness upon misplacing or overbending our natural faculties, proceed from ourselves, and so as that ourselves are in the plot, and we are not only passive, but active too, to our own destruction. But what have I done, either to breed or to breathe these vapours? They tell me it is my melancholy; did I infuse, did I drink in Mundaring Arts Centre Touring Exhibition 2006 - 2008 melancholy into myself? It is my thoughtfulness; was I not made to think? It is Mine Own Executioner my study; doth not my calling call for that? I have done nothing wilfully, perversely toward it, yet must suffer in it, die by it. There are too many examples of men that have been their own executioners, and that have made hard shift to be so: some have always had poison about them, in a hollow ring upon their finger, and some in their pen that they used to write with; some have beat out their brains at the wall of their prison, and some have eat the fire out of their chimneys;[169] and one is said to have come nearer our case than so, to have strangled himself, though his hands were bound, by crushing his throat between his knees. But I do nothing upon myself, and yet mine own executioner. And we have heard of death upon small occasions and by scornful instruments: a pin, a comb, a hair pulled, hath gangrened and killed; but when I have said a vapour, if I were asked again what is a vapour, I could not tell, it is so insensible a thing; so near nothing is that that reduces us to nothing. But extend this vapour, rarefy it; from so narrow a room as our natural bodies, to any politic body, to a state. That which is fume in us is, in a state rumour; and these vapours in us, which we consider here pestilent and infectious fumes, are, in a state, infectious rumours, detracting and dishonourable calumnies, libels. The heart in that body is the king, and the bran his council; and the whole magistracy, that ties all together, is the sinews which proceed from thence; and the life of all is honour, and just respect, and due reverence; and therefore, when these vapours, these venomous rumours, are directed against these noble parts, the whole body suffers. But yet for all their privileges they are not privileged from our misery; that as A Decade of Contemporary Self Portraiture in Western Australia the vapours most pernicious to us arise in our own bodies, so do the most 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 dishonourable rumours, and those that wound a state most arise at home. What ill air that I could have met in the street, what channel, what shambles, what dunghill, what vault, could have hurt me so much as these homebred vapours? What fugitive, what almsman of any foreign state, can do so much harm as a detractor, a libeller, a scornful jester at home? For as they that write of poisons, and of creatures naturally disposed to the ruin of man, do as well mention the flea as the viper[170], because the flea, though he kill none, he does all the harm he can; so even these libellous and licentious jesters utter the venom they have, though sometimes virtue, and always power, be a good pigeon to draw this vapour from the head and from doing any deadly Curator : Catherine Czerw Catalogue Design : Design by Numbers www.designbynumbers.com.au Photography : Acorn Photo Agency, Leon Bird, Victor France, Robert Frith, Peter Illari, Ben Jackson, Roel Loopers & the artists. Copyright : © 2006 Mundaring Arts Centre

The national tour of this exhibition is managed by ART ON THE MOVE.

The exhibition has been supported by the National Exhibitions Touring Structure for Western Australia Inc. through the State Exhibition Development and Touring Funds.

The State of Western Australia has made an investment through ArtsWA in association with the Lotteries Commission in ART ON THE MOVE the National Exhibitions Touring Structure for Western Australia Inc.

ART ON THE MOVE is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. ART ON THE MOVE is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

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Sponsors : Mundaring Arts Centre Touring Exhibition 2006 - 2008 Mine Own Executioner

A Decade of Contemporary Self Portraiture in Western Australia 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 CURATOR’S NOTES n sl epeso truh hi sl portraits. self their through jewellery adornment expression self other between self and link the and Cotter explore and Jenny to Barbara food curator artists year, invited between another In Kerr self. relationship of Robertson, sense the Kevin one’s and consider Baker Su to including artists, brief. of selection the her asked to instance, bring for ideas Theunissen, they and Michele which as approaches to worked individual have benchmark their curators the successive become all have Jude by established excellence and integrity of standards The Centre’s Arts program. of the exhibition Mundaring yearly highlights major the of one into developed for quickly results the Executioner were fascinating alike artists audiences and that participating and engaging So George Brian by as curated and Jude. shows early in these McKay featured Gregson such David Clear, artists Madeleine Haynes, Australian Western Many artists create. toleading urge practicing their how and themselves investigate perceive to out set exhibition initially the foreward, her in recalls Jude As today. in place of remains that show the format and concept original the of conceived Centre, Arts Mundaring the also is exhibition The indebted to catalogue. Jude of van der this Merwe who, when to managing title foreword his intriguing and apt coming Executioner for the Bolton with Geoffrey up thank can and We amusement of interest. spark first the exhibition’s provides the often tradition, title its with unfamiliar State. those For this the in practice mirroring art by contemporary life of cultural richness Australia’s Western to the of disciplines, Executioner artistic interpretations of possibilities of range array a an across endless presenting by the genre the revealing Consistently produced. been has talent, artistic Australia’s Western of best the of some representing annual artworks, 150 over of the artists for portrait Australian Executioner self a Western create to practicing inviting been has Centre Arts Mundaring the 1995, since year Every C at h erine , the significance of which is explained in in explained is which of significance the , was embraced as an annual event and and event annual an as embraced was body significant a time, this In exhibition. exhibition has exhibition made a unique contribution Cz er w - CURATOR Mine Own Own Mine Mine Own Own Mine Mine Own Own Mine Mine Mine Own such as that by Kate Campbell-Pope, that often often that Campbell-Pope, Kate by that as such exhibition the with concept, Murray in resulting many freely provocative interpretations, Sandra work to and artists Kelleher encouraged Travis as such curators his in of own In their dimensions body contrast, as explored inspiration. curated he later he idea Executioner when an portrait on self 1995 drew Elliott Stuart C f h atss n ter ecie pae ihn it. within place perceived their and artists the world of personal the into offers it views unique the and exhibition the enjoy you hope sincerely We Australia. Executioner Own of tradition the to share opportunity the has now Centre Arts Mundaring the years. partners, ten sponsoring of our first its over and success support the to generous Thanks cooperation, their and popularity its to in portraits Executioner self Own selected of celebration of all exhibition the Centre art and Arts this associated artists with Mundaring the presents that pride great with is diversity It exhibition. this touring the this in through is works six represent It to thirty and of hope showcase we condition. that portraiture depth human and self contradictory the that contemporary sometimes indeed, emotions of and and endless possibilities ideas and the of and vulnerability reflect myriad humour a frankness, of and boldness... expressions intimacy their gravity, with Mundaring Centre the at Arts audiences delighted consistently originality, themselves stretch of In and so the they of genre doing, have fully self portraiture. that degrees rigour with and introspection brief their has continued approach have to years “executioners” Western invited The the by strength. over exhibition matter. community the seen subject to artistic and shown Australia’s support medium portraiture The form, self of of terms notions in traditional challenged at h Mine Own Executioner Own Mine erine , which included Peter Saxon, to use the the use to Saxon, Peter included which , Cz er , and all those who have contributed contributed have who those all , and with new audiences across Western Western across audiences new with w - CURATOR develop from strength to strength from develop October 2006 Mine Own Own Mine Mine Mine Mine with skill, with dexterity in performance. so do theybecause and them remember to future the because they tobring finality the way in which they wish self-portrait of ‘executioner’termartists theforuse shall we purposes our For exhibition. this in presenting of those most to irrelevant be surely would this but debts, of seizure the ofdescribe to term a legal aperson also or is It a performance. property in for default in the payment particular, but painting hardly less – it speaks of dexterity word the foremost andmeans ‘performance’, and First in some of the –arts music ‘execution’. in term the of meanings other two carries Australian Dictionary Oxford the Concise But them. of some witnessing avoided have hardly could Donne spectacles,and public were whether beheadings on Tower Hill or hangings at Tyburn, whose job it was to inflict capital punishment. hangman the orhave wouldheadsmanthoughtof Executions, the Notreally. hewhenusedDonne the term‘executioner’ Executioner’ is inappropriate? remember me.’ should Doesyou this meanthat that choosethe title I‘Mine Own how is that and myself; saw I are there They to inform later mortality. viewers: against ‘That is gesture who I a am; are that natureis how their by self-portraits becauseparadox, a is that Andcome. to mortality the of reminder graphic a had he alive still a commission to first the ofportrait himself in was his own shroud, so Donnethat while he was know I as far so but practitioners; mature asthemselves presenting and portraiture, using the genre for psychological exploration such as Dürer and Holbein had developed the art of self- self-portrait. A hundred Renaissance years earlier artists of theforart inworkers figure significant especiallyan is interestingforcreative forerunner but modern he artists, an him make might itself in that and personality, his of sides spiritual the eroticand thereconciling of problem the with wrestled Donne four Donne. poet John the originated preacher spirit, and troubled it that but with ago Balchin, years Nigel hundred by 1950s the of ‘MineExecutioner’Own was the titleof novela popular G eo ff re y B o l ton October 2005 time, and perhaps motivated by a desire to stay closer closer stayto desire motivateda by perhaps and time, I was fairly new to the business of art administration at that bemused than a one off orshow. cells life brain longer adeveloped something why about collapsing curiosity the of function a either is This about. came all it how clearly remember tohardeleven nowafterback it’s years, little Looking a J o e i a a oeve. h Mnaig rs Centre Arts Mundaring Thedeserves congratulations for continuing to aspire. overview. an as it see to joy a and exhibition the of part beto privilege a was It thatcuriosity is the human entity. personal and political ofexpressionthe wonderful aglorious simply ispositions responses; of mix The bad a day. on art made works and been looking have of there process and feeling; the in artist the un-did nearly Bevanand Honey.Caporn that haveworks Therebeen works Paul at look just – wrenchingpieces obsessive blowingly mind gutand Hummerston; Harry Nigel and Farman, Hewitt Nola a instance for in invisibility, wrapped of position personality of convolutions the about clearly speak that works memorable been have There curators – each their own bringing vision. particular the show has been the approach taken by a number of creptthing up on us a bit. Oneof whole the great strengths of the and it continuing about think to us allowed show initial the of success pragmatic surprise a The beyond choice. went career that force driving a saw I believed I whom in and interestedme who artists were by proposition. a and personal simple highly very These year was intheTheselection first governed of the artists Bolton who gave the exhibition its name. Geoffrey by applied quote Donne John work the with aptly whose people themselves. That notion sawof being subject me to how a movedcompulsion tied in ormost affronted about challenged, curious became I themselves. view artists those do how and urge that product, the question for me became something about final the of quality about discussion any aside Leaving to make tendart to sit uncomfortably. these compulsions In about statements grand do. can times theypragmatic all is art making – choice no is are practice art ... of and then there There are some for whomthere landscape the way. littering people fundamental talented a very many in true was this that him asking stomping off with an armload of mechanically art books, and I realised and ofcourse’, what hewas–‘Makingart doing hesnarled, morning one Library theMundaring ininto Iremember bumping Elliott Stuart knows. who – Really budgets. and acquittals reports, of rigors practice toand createartists some space between the ude v an

der M er w e October 2006

FOREWORD CATALOGUE ESSAY takes subversion very badly. be almost subversive. And we now have a culture which onceso stock currentin trade may now seem so revisionist the as to of level ‘Cultural every Industrial Complex’ means at that the prevalent self-portrait, otherwise so squeezedseeminglyoutofcommodity theoriented art the personality, the unfashionable humanity so efficiently feel it is the case. I’ve Perhaps it is because more and more, onanism. fascinatingwondered why oftenthis is not the a this case. be Or ofat should least why self-portrait Iconfirmation don’t of idea whole the way, a In interchangeable. probably even personalities seem to be more and more industrialcomplex where conversation, values, jobs and accord, much like an IKEA version of Eisenhower’s and majormilitary state institutions art all seem to be in an eerie sycophantic equivalent. Key commercial spaces, critics simply the individual”. is Or, “there in acolytes, famouslyWA art’s lipped case, wet once only the her career toor T its explained Maggie other the as community’,” ‘no now is “There now. so Not by. passers and world wildly swinging child self,its onlythewith warcoldaloof and between tense tryst an like ego, on run has troubled art somewhat a had definition, by almost andmarket’ always‘the with relationship has Art uneasy. little a Carbide Union make might that enthusiasm an from art, Visual with Thatcherismembracedhas 90’s middle theabout regard. this in period self-lacerating particularly enteredahave to seems anorexia chronic its with WA,art, In managed.be tosupposed is which preoccupied that oftenconsolidation,expenseofown thelatelyitsat with more be to seems management as just preoccupation, contemporary the more be to in its own right. Career driven art, whatever that is,exploitative perversely diagrammaticorseemsbeing results in oftentoocritical’‘socially the to aspiring art sincebad all isn’t Which self-absorption. and narcissism of areas horizoned narrow more the into further drift totended likeeverything else in the area of human enterprise, has tooccasionthethatrisenoften that orwell oflate. Art, have artists thatNot libel. defamation seriously bymenacedor often aren’t artists of writers, state unlike the And of things. version sympathetic interpretive their and air primed to system immediate, an had artists that case the now,more so less possibly but then, was itPerhaps effervescentthefix. could Kenor Done Hart couldn’t.Ilate themythatauraonlyProwhatailed Or artist most recognized by Britons in 2002) could see what mightbe.I’mforAs artists, not surewhat (theRolf Harris it how and is world the how ontakes impressive pretty foundscientists, writers and truck drivers can often have paramedic.This always struck me as a big claim as I’ve Old Joe Beuys, every artist was both human visionary endeavour of and areahad. psychic other Somehow, no thatlike culturethe greatermythic fog the intoshrouding insight an had somehow art that said often too was It S tuart Ell iott loyaltyto whatever we consider ourherd packor to be, sided, in the world’s favour. Just as one- prettyweand larger,difficultfar morefar is haveworld the a hard-wired as the person to person relationship may be, the one person.with The other is with the world. As painful or glorious have two great love affairs. One think is the with gist (atof whatleast) he one was other saying wascomplexities ofhumanity’s thatrelationshipI withthe world. in our lives we AlainDe Botton, in his book ‘Status Anxiety’ spoke of the S showscurrentlyrecognisedcarefully very arenationally sinister,use-byfactor.ajust Interestingly, nothing portrait majorthetwo Probably passed. Parmelia why clear abound the Archibald,beforelong with tonot isItMoranthecame along. vie to used used shows Prize Portrait Portrait Parmelia The once. as is. fascinating art art, that of the much just more is than MOE culturally of history important The public. in themselves on inward glass somewhere magnifying the on turning artist intense going the Schadenfreud- of bit a is there candor,someremarkable thingscan happen.Perhaps eventotakeislook,hard indirectly a rewarded fortheir a pleasespecific subject to or obligationpatron, nowhen the under artist is encouraged is artist the when But turn, scrutinises the viewer. thesurfaceglossy ofthe table frombehind which he, in in mirrored shadowchromatic rich, in faceinscrutable Or him. behind fomentNigel Hewitt’s study violent of the psychologist in George Burns, his world the charger, For rearing his on Napoleonimpassive weirdlyinstancethe inserted. is meat that which within context the in certainly thensubject’sitself meatthe of rendering the thatit can tend to be ‘interesting’ or ‘evocative’, if not in doomedportraitureisto puffery, itdoesmeanhowever forthcoming to the depictor.be tolikely less is largessThis or goodwill accuratedoesn’thow- of mean to say that partisan - if the depicted doesn’t like the work, regardless ofthis ‘authorised portrait’ approval seeking isobviously caricature or similarly deliberatelydriven politicallyinsulting withconfused material. be to not Part a is This snaps aside. family is royal Goya’s there - inevitably seeking approval portraiture of level of realization the In indispensability that clique. of out and passé us leaves exhausted once that trick one-off a or mutation suspicious of form some as to the perceived extent of that uniqueness lest it appear cautious as be must we But retention pack.ourthe by kind of status - social, if nothing else - that will guarantee a thus and indispensability an suggeststrongly will that demonstratea certain uniqueness, an individual quality or less reliable and hence valuable. But we also want to respectiveourwith into fit packmorethus appearand asmaller but possibly more manageable way, we need love it. But in this, consummations are exceedinglyworld. We want rare.the world to love us as we, In involuntarily, we similarly have a larger open-ended version toward the tuart Ell iott value. cultural MOE’sreal of part is This made.been have to if not for MOE, this work like many others reallyPhil’s would artworks, worthwhiletranscended allbe its subject. LikeAnd unlikely art? make why career, a for than other why animate the non-animateable? But thenso neutral,of becourse, to supposed is image ID official An Phil. passport comparativelylifeless the to tensionpoetic in sitting did,it nonchalant asas look makeit to sensibility specialneededa electronics,physicsofalsoand itbut machineactuallyneededknowledgesound aworking that simple of apparently This pulse each Phil. humourless impenetrable, with engrossing more get and to more began mechanism, simple apparently its and premise, looking know simple fairly we The do ourselves? how know we And ourselves? know we Do did. machine his Ironically, is. us actually Phil told who of nothing passport, the identity, of benchmark modern Thattradition,away.Boltanski gavenothingin portrait, official this but manfascinating a is Gamblin Phil pan. deadNapoleon’s -equestrian the ofthat as remained expressionhis whilerhythmically shrinking andplunging hair repeatingcycle,hisa through alarmingly pumped and pulsed Phil’svisage and in kickedsensor proximity a machineapproachedtheone assystemmeantthat projection style Monkeys12 the of Army an in them of series a placing that photo,and passport ofconstant, the old taking Gamblin’s Phil then But fluoro. kitchen the under than firelightexoticby more look all we and eyestowardsones’lighten mid-afternoon undercircles dark the morning, the in taller is One general. in least loverdifferently,a parent,or We frontofficialato an at impact. obviously when and are we who of chestnuts Big questions - with entirely subjective answers. Those old to avoid the appearance of glibness or psychotherapy? And behalf? if using a more literal own approach, this how their is this imagery on should deployed equally language, be language encoded heavily or symbolic some interesting issues. If an artist sees the world upthrough setscourse of This around.goto ClosesChuck Parrs and Mike many so only all after are thereuntutored; many of MOE’s artists come to theportraiture, of culturesignificant subjecta longer nocomparatively is there As and confrontation that the straight portrait does not.conflict oflevel a bring indeed may embodies portrait self- the component visceral fairly same, that all, After ‘art’ not ‘fact’. If this is the case, does this work for MOE? isn’t enough tabloid juice in the staid portrait, it is after all thereexposing anddebunking obsessederawith an in I’mwhy.notsurePerhaps written. isthat bit little thein its entries. I don’t recall anything not vaguely patronizing by talking a little bit every now and Cup,Melbourne themselves thenbobeachhavingtwoway about a little bit of Matter describe the Archibald as Sydney’s version of the project is mentioned at term all Moran’slongit Doug is If in derision and art. Peoplereal fromThat off curtained hr ae rit’ efprris f infcne ht are that significance of self-portraits artists’ course are Of there significant. becomes model its if broadcurrency garner only really can artwork of type This art. in the end diary that is what voxpop defines the self-portrait from aspiring Perhaps other writers. all, serious otherwise aren’talways after writers - well too model this fit to seem publishing don’t self-portraits Artists’ with mind. executed in secretly and conceived been has Ithas been credibly suggested that any published diary fails, to be empirically honest. self-assessment. inconsistent And ourmost of all our and ability, when all else pride our fear, our and bombast our us,ofstuffintimateaboutambiguouslythe isIttoo. time same the at butricher, and bigger something be can art best,its At either. mobility upward cased brief byten,soundselling,softofbusiness the not in really is it exclusively not isfocused on soothsaying, art pedantry best, or décor and maybe its at that evidence the is It self-portrait. dinkum theabout reassuring so find I what indeed isthatPerhaps Complex. CulturalIndustrial the of juggernaut chairedglossy,swivel thebeneath meat vulnerableinteresting, the of reminder disconcerting a is self-portraitThe disengaged. creaturessocial firmly is all of politeness reflexive the where opportunity rare a recorded sound of their own voice? Or perhaps weown standardshave - who how ever responds well of to the unedited, regardless thatanyone regardselseus, we nevermay match toup our horror genuine that terror, quiet perhaps or angst pinched with one at back stare may reflectiveselvestheir Saxon butcreatures handsome Peterbe both and Clear Madeleine of unflattering relentlesslythemselves. are respect I artists certain the for essay catalogue’98 tortuous my in mentioned, I portrait. But a lot of important art is hard to love. hardItistoburst.forshort, asearing love thegutsyself- theworldand the pack suddenly don’t with matter. relationshipsAt least our and up line all honesty and tact in the title. One of those rare occasions where frankness, portrait is the artist stripped bare, as is self- stronglythe large,suggested and by But pitched.betterbeen rarely deep but the Modern Artist As Hero waist (NB barelynot wasHeroine) water has the and bloke tall wasn’t a He the gleaming water was less than frank. Picasso’s Heimage of himself far out at couldn’tsea cutting through swim. relativism‘80s. moralindulgencetheofand puerile the However, wouldin so doing, he wife,also spoke more broadly temporaryabout if eternallyprojectnot exotic,a unflattering selfview to posterity. his with congress in and supple forever Koons, Geoff self-denigrating. not Mine Own ExecutionerOwn Mine , the inexplicable notion thatnotion inexplicable the , May 2006

CATALOGUE ESSAY HANS ARKEVELD After an extensive artistic education from various Australian institutions, Hans Arkeveld developed his skills through further studies abroad in Papua New Guinea, New Zealand, Thailand and throughout Europe. These studies and the development of his artistic practice has seen Hans show in a significant number of over 150 group exhibitions around Perth and Australia, as well as selected shows in Holland and Singapore. His first solo exhibition, Images of a Cagemaker at the Art Gallery of WA, 1984-85 was followed by Transmigrant in 1992 and more recently Transient, which is touring with ART ON THE MOVE in 2006-08. Throughout his career, Hans has been highly awarded and acquired into a number of private and public art collections around the country. His focus as a sculptor of the human form and its connection with science has seen Hans develop a strong association with the School of Anatomy and Human Biology at the University of WA and has directed him into the practice of teaching at various points in his career.

SU BAKER Graduating with a Bachelor of Fine Arts, a Graduate Diploma in Education and later awarded a Doctorate of Creative Arts from Curtin University of Technology, Su Baker’s career has spanned from being an exhibiting artist, showing nationally in group and solo exhibitions, to being a teacher of the arts. She has been the Head of the School of Art, Victorian College of the Arts, University of Melbourne since March 2000. Su has exhibited extensively in Sydney and Perth, predominantly at Galerie Düsseldorf when in Perth, and held exhibitions at John Curtin Gallery, Perth, and at Boutwell Draper, Sydney, in 2004. In May 2006, she exhibited a new body of work at the new John Buckley Gallery in Melbourne. Su’s work is represented in a number of public, corporate and private collections, including those of ArtBank; ACTA Shipping; Alexander Library; Art Gallery of WA; Curtin University of Technology; R & I Bank; Holmes à Court and the Wagga Regional Gallery.

AADJE BRUCE With extensive experience in group exhibitions and travelling shows, Aadje Bruce has displayed her artwork throughout the country with shows at the Museum of Contemporary Art in Sydney, Adelaide Festival Centre, Australian Contemporary Art Fair in Melbourne, a number of university exhibitions nationwide and galleries in New South Wales, Victoria, Queensland and South Australia. Aadje has promoted her artwork significantly through regional galleries in Western Australia and has taken part in exhibitions in both Bunbury and Mandurah. Her two solo exhibitions, Repetition in 1997 and Domestic Bliss in 1996, were both shown at Artplace, Perth. Her art has been acquired into numerous private collections in Holland, USA, Indonesia and Australia, as well as into the collections of the Art Gallery of WA; Royal Perth Hospital; Holmes à Court; Central TAFE; Gomboc Gallery and Sculpture Park and the Bunbury Art Gallery.

KATE CAMPBELL-POPE With an exhibiting career spanning ten years, Kate Campbell-Pope has been active in showing her work in a significant number of group exhibitions across Australia including both regional and urban galleries throughout Western Australia, New South Wales, Victoria and South Australia. These exhibitions explored various mediums, such as craft and sculpture, and required diversity in Kate’s artistic practice. Due in part to the national exposure of her work, Kate has received a number of public art commissions for sculptural works throughout Western Australia, from Albany to Monkey Mia, including some urban commissions. Kate’s work is represented in various private and public art collections including those of the Art Gallery of WA, King Edward Memorial Hospital and the City of Tamworth, New South Wales.

PAUL CAPORN Since completing his Bachelor of Fine Arts in 1992, and receiving first class honours in 2004, Paul Caporn has been exhibiting widely in group shows in Taiwan, the UK and throughout Australia. His solo exhibitions include: By Light, 1996; OUT OF ORDER, 1998; Homely, 2000; Blur, 2001 and Translate in Taipei, 2004. His most recent solo show Modified is touring Australia with ART ON THE MOVE in 2006–08. Paul has received a number of professional art commissions, awards and publications throughout his career and is represented in many public and private collections including the Chamber of Commerce and Industry, Curtin University of Technology, Central College TAFE and the Ian & Sue Bernadt Collection.

MADELEINE CLEAR Teaming her education in fine arts with her travels around Australia and the world, Madeleine Clear’s research and studies into the painting medium has seen her career develop through a significant number of exhibitions, commissions, awards and acquisitions. With over twenty solo exhibitions to her name, predominantly shown at Greenhill Galleries in Perth, as well as her inclusion in over sixty group exhibitions locally, nationally and internationally, Madeleine has been able to solidify her position as a leading Australian artist. This recognition has seen Madeleine’s work acquired into a number of public and private art collections including those of: the Art Gallery of WA; Holmes à Court; ArtsWA; Artbank; Wesfarmers;

ARTISTS’ PROFILES Museum and Art Gallery of New Norcia; Chamber of Commerce and Industry; Eastern Metropolitan Regional Council and Central College TAFE.

BARABARA COTTER Since initially completing a Bachelor of Arts (Visual Arts) in 1991, later completing her Masters of Creative Arts (Art) in 2005, Barbara Cotter has been regularly exhibiting in group shows throughout the country. Barbara has also developed three solo exhibitions, including Gentle Agonies, New Collectables Gallery,1999; New Works Studio Residency and Exhibition, 2003 and Breakable 2004, both at Free Range Studios and Gallery. Receiving an ArtsWA Arts Flight Grant in 2002, Barbara was able to attend and present at the 2003 Hawaii International Conference on Arts and Humanities. She presented again at the Society of North American Goldsmiths Conference in 2004 with her illustrated paper titled ‘Contemporary Jewellery in Western Australia’. Barbara has also worked as an art teacher at secondary and tertiary institutions, and currently holds a position at the John Curtin Gallery. of Technology; Western Mining Corporation; of Claremont School of Corporation; Technology; Western and StokesMining Art the Kerry Perth. Collection, also He 2002. in School High Senior Residency in tookSydneyin the part Gunnery in 2001.Goldfields Philip’s Eastern work is representedUniversity ofand in collections Curtin the art 2003 in College Vale Canning 2005, in Brewery Bay Matilda the from coming commissions these Perth, throughout commissions and grants financial manyawards, seen has career has and he recently, Most world. the around and Australia in in exhibitions exhibited group of number a in work his exhibiting through Graduating with class first honours in fine arts from in University Curtin 1998, Philip Gamblen has developed his art practice P Perth. and àHolmes Collections, Court Curtin Taiwan; Museum Sanyi WA; of of City ofBunbury; Perth; Royal Gallery Perth Hospital; BankWest, Art Eastern Metropolitan Regional Council the as City well as Library; WA Alexander & the including Design; ofCowan School Edith Art University; Kerry Stokes US,University; Murdoch of Technology; collections University the art and private and Britain public Netherlands, significant the of Australia, number a around in represented is work Stuart’s BB4). (and Biennale Bunbury Scale Small International the Hungary, in Triennials, Triennial Sculpture Sculpture Melbourne and three included critical have These and world. the internationally, around and group numerous exhibitions in Australia as well as in 19782005 from until shows shows solo group thirteen in of exhibited been has number work His a writing. academic curating lecturer, and tutor a as arts fine ofOther aspects and teaching his career private include andpublic commissions. residencies completing in exhibitions, With an in education arts majoring sculpture, Stuart Elliott’s career has spanned the with fine his industry arts participation STUART E of New Norcia, Gallery 1998.Art Helives currently andin works Perth. 2001and Court, and AbbotSupreme Museum Placid, Perth Malcolm, David Chief Justice 2002; Gallery, Portrait National Cuthbert, Betty them: among commissions, portrait numerous completed has Andrew 2002. Canberra, Gallery, Portrait art figurative Australian Western contemporary of include: exhibitions group Andrew’s 2004. in include those at the Lawrence Wilson in Art Gallery 1992exhibitions solo His and University. 1996,1985in Curtin at degree arts Fremantle 1964in fine Arts aCentrecompleted andPerth in in born was Daly 1999 Andrew and Spectrum Art Gallery ANDRE H I L IP GAMB Cyber@rt W LL DALY IOTT Strange Attractors Strange EN LEN in Spain. Philip also participates extensively in exhibitions in both regional and central Perth. His artistic artistic His Perth. central and regional both in exhibitions in extensively participates also Philip Spain. in Collection. Cruthers the and Hospital Gairdner Charles Sir Perth; Tatein and EvansConsulate Estate; Italian CowanUniversity; Edith WA;of Gallery Art the including overseas and Australia in collections art public and private numerous in represented is and grants and awards of number receiveda has exhibited Rina Europe. and and Asia in published widely internationally and been country has the throughout artwork Her practices. artistic own her and galleries various in work her with coincides that aposition most Perth, throughout institutions Melbourne, tertiary and major ofthe atmost students lecture Perth and tutor Rina seen in shows solo four in exhibited has Rina recently sector. educational the in role her and practice in Rina With painting, Franz’s a and qualifications incareer various Arts Masters has bothVisual encompassed her artistic RINA forand Culture Royaland Murdoch the University Arts; Hospital. Ministry Perth Gallery; Art Wilson of WA; of City Gallery of BankWest; Wanneroo;Lawrence City Art Stirling; CowanEdith ofUniversity; Artbank; collections public the and collections art private represented in is and her projects and and commissions art Museum involvedpublic manyWAbeen in the at Festival has Jo Arts 2005. in Arts ofContemporary International Institute atPerth Prize Perth Art Contemporary BankWest the wonher recent2003 more work the The during curated Jo shown Fair. was Art that Melbourne exhibition 2006 Museum the at Gay work her showed who Fremantle North in East Gallery by represented recently most nationally, work her exhibited has JoDarbyshire 2004, in of Creative aArts in Masters resulting Canberra, and both Perth in studies arts fine extensiveAfter JO DARB has also been an active teacher of and theof arts practices visual around since Perth curatorial the late 1980s. Time Prime being: these career, his throughout shows solo five exhibited in and Edith Victoria, Cowanin Gallery Art a University, Warrnambool ofnumber around Perth. shire Petercollections has number ofsignificant public and private ofthe including collections Art Gallery WA, of University WA, Murdoch University, well as in his inclusion over group eighty shows and Australia within on stage.the international His work is represented in a Peter career has Dailey’s been decorated awards, artistic highly grants as with and commissions, numerous publications PETER DAI locations. David’s work has been widely recognised and commended with awards such as the Parmelia Portrait Prize Prize and Portrait and Parmelia the Claude companies Hotchinand Prize thehe Art was in as thePrize. a Doug Portrait Moran such finalist National Australian awards with other commended and numerous recognised as widely been well has work David’s as NSW,locations. Corporation, Myer and Coles NSW; of Artbank University WA;Technology; ofCurtin WA;ofUniversity Gallery Art the including collections numerous in represented is He Perth Studios, Stafford2006. at in held was works David’sof the exhibition successive of highly AcademyA WA 2000. in included Kellerberrin, exhibitions IASKA, at shown solo His community. local 1994, his in in Arts artist Performing active highly a also was David respected 2000, highly 1953 most until statefrom the Australia’s throughout extensively Western shown of exhibitions group one and solo is with Together teachers. and Gregson painters David career, distinguished and long a enjoyed Having DA V ID GREGSON F RAN Y The Invisible Line The Invisible LE S Z , 1996; H Y IRE in Shanghai, Shanghai, in Bravo 469 Bravo Exhibit AExhibit (the forensic evidence of an idea) David Gregson Retrospective Gregson David , Melbourne in 2006. Her professional experience in the has experience roleHer professional ineducational of,2006. industry theMelbourne arts in Singapore, group shows in Philippines, China and Perth, and the inaugural inaugural the and Perth, and China Philippines, in shows group Singapore, in ART Digital ART Configured at Lawrence Wilson Art Gallery, 1996 and Gallery, Art Wilson Lawrence at at the Moscow Biennale, Biennale, Moscow the at , Lawrence Wilson Art Gallery, 2006; 2006; Gallery, Art Wilson Lawrence , hs Rvr Paintings River Ghost at Art Co-ordinates Subiaco in 1999 and 1999 in Subiaco Co-ordinates Art at , 2002 , and 2002 most recently Industrial Hardware Industrial Australian Culture Now Culture Australian at SPAN Galleries in Melbourne in 2005. She is is She 2005. in Melbourne in Galleries SPAN at Intimate Portraits Intimate Oddfellows: the essence essence the Oddfellows: , 1989;, Symbiosis Changing of the Guard the of Changing in Melbourne Melbourne in in Melbourne, 2006. Peterin 2006. Melbourne, , National National , A Painters Language Painters A , 1990; ,

ARTISTS’ PROFILES ARTISTS’ PROFILES solo exhibitions include include exhibitions solo in shown was recentwork most his 2006 In country. the throughout exhibitions solo and shows group of number large a in With an educational background in visual arts and in Bevanspecialising printmaking, Honey’s career has seen him exhibit BE Court; à Holmes Artbank; SGIO; University; andBankWest; CowanWesfarmers the Stein held Edith by among Collection many Gallery, theothers. Art Technology; Lawrence Wilson of University WA;Curtin of Gallery Art the of collections the inrepresented is he and collected widely are works Nigel’s Australia. also throughout is exhibitions he group invited many intobeen show and and exhibitions Prize solo four twenty hadPortrait has He more. many art plus Parmelia Prize the Art national times, Mandorla theof and three winner time Prize local two a manyArt Albany received the Award, has Art He Kedumba career. the including prodigious awards his throughout commissions corporate and private several awarded been has has overresidencies, Nigel a decadeand has Australia. ofwidely been has chosen been teaching forexperience, published across numerous and state the around shows group and solo in has he extensively pencil, and exhibited wax of mediums chosen his through imagination his of world the shaping and 1977. in Art Exploring from the School of Claremont since graduation his and career consistently has developed strongly Hewitt’s artistic Nigel NIGE Corporation; Kings Park Botanical Gardens; Murdoch University asPark Kings Botanical well Corporation; asGardens; Murdoch University the in 3M Mining WA;Italy.Collection ofWestern University Art; of School Claremont Wesfarmers; including Australia, Western in collections art of been has and Australia forWestern commissioned various around public and corporate widely works around Perth. exhibited His has sculptural work Greg has been UK the acquired 2004. intoin in Sea a The Bynumber Sydney’sGallery Sculpture and Priory 2005 the in at Show Summer the in seen was work recent most Western His the world. the in and shown Australia been has artist throughout Greg’swork name, his to exhibitions well-established group and a solo of number become significant has a With world. James art Greg Australian years, many for sculptor practicing a been Having GREG JAMES Perth Arts; the and Culture of Department Hospital. and College King Edward Memorial University; Cowan Edith Fremantle; of City WA;of University Technology; of collections, art numerous in represented University ofis BankWest; Australia; Curtin ofof heSA;WA; Gallery National Gallery Gallery andArt Art those of Artbank; including career his throughout published well been has Bevan’s work 2003. V project AN L

H H E ONE W , a solo exhibition at Galerie Düsseldorf, Perth and at Faculty Gallery, Monash University, Melbourne. Earlier Earlier Melbourne. University, Monash Gallery, Faculty at and Perth Düsseldorf, Galerie at exhibition solo a , ITT Y for some of these shows. Throughout her career, she has conceived and worked on several large outdoor public public outdoor large Cowan several Edith other private Shire; collectors. on Mundaring worked the of and collections conceived art the L has University; & in L and represented Horne, Sculpture Gomboc Gallery Park, she the Stokesis Kerry andand career,Holmes à and Collections Court various Australia her Western around Throughout commissions shows. these of some for and the US. has Michelle exhibited in a number of since exhibitions 1993 and has also acted as a curator and coordinator to teaching students at Swan TAFE, has Michelle also consulted on various boards and worked with in other Europe artists and knowledge levels. as her skills well As and at aswell arts design as art and contributing bothinstitutional community Hogan’sMichelle career has seen her balance her own developing practice art with her as experience a teacher of fine MIC in George Haynes: A Survey –published was3 George’s Decades 1988 career of In Painting. Art. Contemporary of Institute Perth the as known now organization the and US. the and France Zealand, New the Council, Australian President UK, of the Union and Artists’ a Australia, for Board founding member of Arts in both Visual thethe representativeona Margaret bybeing River collections Foundation Arts community arts private ofthe member active highly an been also numerous has aGeorge in in as resulted well has as corporate and and Australia; bank hospital, in Zealand university, most Newcollections in and galleries; UK Australian major the all France,in represented is Pilbara, that practice awarded Australian the in residencies evolved has painting various His Australia. through throughout shows group and solo in annually exhibited has George time, this Since George Haynes’ career artistic has been broad and varied since 1962, when he completed GEORGE his painting studies in London. Gairdner Hospital and ofthe Gairdner Polaroid Corporation Boston, USA. Charles Sir SGIO; Hospital; RoyalPerth Bank; IUniversity & R Technology; Fremantle; ofof City University University; Cowan Edith WA;Curtin of University; WA; ofMurdoch Gallery Art Victoria; of Gallery National the of those including world, the of backdrop the against of His work has also beenpainting. byhistory acquired design and the around Australia many object corporate collections and public in principle pleasure the with dealing work current most his with career, his shown in was recentwork most His America. and Perth in shows 13as solo well as country, the in throughout and exhibitions Australia Westerngroup forty over included has career Ben’sexhibiting Art. of Department University’s Curtin at Painting of ofHead 1989, Since position the held arts. has the hein education thorough aon based been has Joel’s career Ben Dr Technology,of University Curtin from PhD and Diploma Graduate Distinction, with Associateship an completed Having BEN JOE States of America, Thailand and Japan. Court, Lawrence NationalWilson ofGallery; Art Gallery Victoria and many private collections in Australia, Sweden, United WarChiang RegionalMai Gallery; Memorial;University Bunbury ofArt Thailand; UniversityCurtin of Technology; Holmes à numerous public, corporate and private art collections across the residenciesworld, toincluding further thosehis practice.of Throughthe his Art extensiveGallery of participation WA;in art exhibitions, Australian WesternHarry’s work hasAustralia. been Harry’s acquiredwork intohas been well published and he has in13 receivedsoloshows and participated ina significant a numberof group exhibitionsnumber shown throughout ofAustralia, predominantly awards, grants, commissions and isbased ona thorough understandingcareerof With anthespanningarts. artistic thefine last 25 years, hehas exhibited Witha varied education andin arts education, culminating with a Master Hummerston’s of Harry in Fine 2002, Arts career H ARR H Y E

ELL H L UMMERSTON love is blind is love H Instrumental H A OGAN Y NES , Canberra Biennial of Art and Architecture, 2005 and 2005 Architecture, and Art of Biennial Canberra , at the John Curtin Gallery, Perth in 2005. Ben’s work has varied significantly in medium throughout throughout inBen’s medium in 2005. Perth significantly has work varied Gallery, at the Curtin John 761m2 , Galerie Düsseldorf, Düsseldorf, Galerie , highly awarded and highly hearound Perth. has received a for ofartworks number public commissions Holmes à Edith Court andCowan Düsseldorf; Galerie the University; State Art Gallery, Poland. Jánis’ career has also been Some of of of WA;Gallery Art these University Technology; Curtin Malaysia; include Artbank; High Commission, Australian Malaysia, America, Lithuania, Australia, in shows Japan, through Canada andaudience Poland and international this and exposure has seen wide-ranging his a work reach acquired into him aseen number of known private and well public collections. a become and Latvia in has Bastejs exhibitions, Nedéla solo of Jánis number a held design, also has in graphic Perth. He His shown most atDüsseldorf recentpredominantly Galerie include solo internationally. exhibitions and and Australia printmaking throughout extensively arts, exhibiting by visual artist in qualifications tertiary With JÁNIS NEDÉ Collection. the Cruthers Edith Cowan University, Curtin Murdoch University, City of schools, Wanneroo Council, Mosman Park Hall, high Memorial City of Fremantle and senior work is held at in a number roles of public, corporate and teaching private art collections those the including of and ofCurtin University throughout the Technology, WannerooAward Art Award the residencies forCinemedia in painting 2004, ofand the screenings Excellence Woolstores Painting Prize. Her art film animated through of extensively of number Technology,University and University. Gina Monash has RMIT hadUniversity a worked a awarded career,highly receivedhaving in also participated has has She she country. and produce to commissions artworks and grants of public number and a received has animations Gina artist. mural and illustrator freelance a as career has developed Moore andher Interactive Gina Media, in Animation and a Masters arts in fine education aWith tertiary GINA MOORE Education Underwriters; Western Hospital; Gairdner Charles Sir Centre; of Art WesternandDepartment City Australia of Joondalup. Kalgoorlie Gallery; Art Bunbury BankWest; Technology; Edith Cowan Murdoch University; RoyalUniversity; Perth Hospital; City Artbank; of Fremantle; Holmes à Court, held awarded in a highly number aof had significant art collections, including those has of the Brian ofTokyo.Art Gallery WA;and andregarded is is highly work His also China for ofbusinesses. University Perth career and has received commissions London, aofart WA; number public Australia, Curtin of University throughout shows with considerable been also solo held has has and McKayGallery Brian Court à Holmes Brian Dϋsseldorf, in shown were career, works Galerie latest His his by years. represented forty throughout past theover Currently Perth throughout exhibitions artist. exhibitions group Australian prominent and a solo as of himself number established extensive an in participated Having BRIAN McKA L A Y University, University, Murdoch University, Royal Hospital, Perth City of Wanneroo and Stokesthe Kerry Perth. Collection, of WA,of the around WA, state, Gallery theUniversity collections Art is work art Edith Cowaninheld including prominent his and career published a well had Antonyalso has 2004. and 2002 Showin Group Artplace the and 2004 and 2002 in has group been exhibitions extensive and his work has been Fair Art theexhibited around including Australia, Melbourne include recent most shows His solo Perth. Artplace, and Hobart Bett Gallery, Dick Perth, Park, Sculpture and Gallery atGomboc are representativedevelopment. ofManytitled mostly ofhis artistic these exhibitions, in artist established an become and Westernthe around has Australia country. have tenHis over spanned Muia Antonysolo exhibitions a name,creative and year fifteen period his to exhibitions solo and group of number significant a With ANTON drawing and painting taught having years, many for arts the of teacher a and schools privately.art schools, been summer ininstitutions, extensively schools, various also has Jane won Prize. twice Jane has Art and Hospital. Cossack artist Perth awarded a Royalhighly a and been has and Perth University around Cowan commissions Edith of number Hospital; a on worked also Memorial has Edward King Gallery; Art Wilson Lawrence Hospital; Gairdner of WA; Charles Sir BankWest; Gallery ofArt the collections public and corporate theas well as world, Scotland and France throughout her career, which has resulted in her representation in private art around collections the Perth in To 2006. development, her further artistic Jane has spent time on in painting commissions New Zealand, England, George Haynes at the Sussex Street Studio, Fremantle in and and with 2003 2005 her own collaborations at solo recentexhibition haveincluded shows most the1983. Her since Stafford exhibitions Studio, solo and group in regularly and widely exhibiting through herself has established career the using Jane and Martin With paint anstudies medium, experienced JANE MARTIN of Commerce of and and Chamber and Energy Industry, manyMinerals private collections. of Justice; Chamber of Technology, University Ministry those of Curtin including collections Western Australian numerous those of andthe Japan of City Crafts, Itamiincluding of Museum Tamworth, New Arts Southcollections, Wales as well as the Hall Mining of Fame, in Kalgoorlie Trish’s2006. work has been acquired into Australia, a around number ofas well national and art asinternational Perth, Thailand, Japan, and and Hungary the Australia UK. Western and regional in werePerth in exhibitions these shows of Many eight world. in the around artist solo a as work her exhibited has and Melbourne her inTrish participation has exhibitions ArtsWA. seen her and work West also being Craft shown in a including significant number of industry, group shows art her practice artistic with her professional experience as a lecturer and member of various boards of With a Technology,in University from PostgraduateinCurtin Arts Visual Trish Little’sDiploma the career has seenWestern her balance Australian TRIS Kerry Stokes Collection, Perth; BankWest; Computronics Corporation Ltd; Edith Cowan University; Estate of Dr. Harold Harold Margaret Hospital and Royal Dr. Hospital. Perth of Estate University; Cowan Edith Ltd; of Relations Court Schenberg; of Federal Court NativeAustralia; National ,Perth; Corporation Princess Australia; Tribunal Industrial Title Computronics BankWest; Perth; Collection, Doug Stokes the Kerry and Award Art Mandorla the including exhibitions, in Prize, in1990.he which was ofPortrait Moran a Ron’s WA;finalist group of are Gallery in held thethe collections Art paintings many in participated and Germany and Austria being recent most his Perth, in Even exhibitions solo regular held has he decade in past Technology) of 1979.the University Over Curtin (now W.A.I.T.at (Design) Arts of Bachelor his gained and Fremantle in born was Ron RON N H , 2004 and 2004 ,

WRASSE: Metamorphosis WRASSE: L Y ITT Y Z IS NewWorks MUIA LE TOR RecentWork Sub-stratum , fortyfivedownstairs, Melbourne in 2006 and Exhibitionist, Artplace in 2005. Antony’s participation in in Antony’s participation 2005. in Artplace Exhibitionist, and 2006 in Melbourne fortyfivedownstairs, , at Galerie Düsseldorf, both in 2005. His participation in group exhibitions has has exhibitions group in participation His 2005. in both Düsseldorf, Galerie at ,2003, all at Gallery East, Perth. In addition he has exhibited in Victoria, New South Wales, Wales, South New Victoria, in exhibited has he addition In Perth. East, Gallery at all ,2003, at Galerie Düsseldorf in 2005. Jánis’ participation in group exhibitions has has exhibitions group in participation Jánis’ 2005. in Düsseldorf atGalerie Accumulation , an ofexhibition Trish’s recent and selected works wasearlier held at Survey Exhibition 1954-2004 Exhibition Survey WRASSE in 2003 atin 2003 LU Gallery Works on Paper at the the at Souvenir , have been shown , 2006, 2006, , Stand

ARTISTS’ PROFILES ARTISTS’ PROFILES Bachelor ofBachelor (Fine Arts Arts) at Edith Cowan in University 1998. Since 1997, Kati has had four the solo exhibitions, Katimost recent Thamo from graduated inof theclass with honours first printmaking University Tasmania in 2001, having completed a KATI T iswith Nalda ART represented ONaround Australia. inTHE collections MOVEnumerous in 2005-06. in Sydney and of in by a works exhibition artists national fibre plant and materials other available recycled oflocally textiles. use She unique has her onexhibited extensively, workshops most conducting recentlyand residencies in in Wovenartist many Forms at Object undertaking Gallery craftswomen, camp in art theannual West has and with Nalda landscape. worked bothnon-indigenous closely Australian indigenous with a Bachelor of Arts (Fine Arts) and is self taught in fibre textiles. Since isNalda Searles a whose 1988 practice fibre artist spans twenty five she years. She graduated has of from University Technology taughtCurtin textile university students at an NALDA SEAR as for a Assistant University. Kevin Stokes the part-time Collection Kerry works in currently Perth. Collection work is represented in the Museum National many and Australian Artbank, and public Edith including Cowancollections Splendour in Down 06; including: exhibitions group of NSW University inin 1992.numerous Arts, and Perth participated He Düsseldorf, has athad five Galerie solo exhibitions of Fine fromthe College aof Master Arts in1984. earned ofHe also has Arts a ofwith Bachelor Technology), graduating University Curtin (nowW.A.I.T.at painting studied 1964.Hein Australia Western Norseman, in born was KevinRobertson KE Heinz Collection of USA. Collection Heinz Pittsburgh, Gallery the and ofArt Australia the Library National of Victoria, including Gallery National collections, Gallery, of National WA, public Australian of NSW, Gallery and Art private Professional numerous in represented Canon is he WAand publications the book than twenty more in and featured has 1982 work the Richard’sAward. into Treasure WAState Living inducted a in received was 2004 YearRichard in and Fame 2002, of the In Hall ACMP1990. ofand 19881986, 1984, Photographer in Category Professional Year,Landscape the of IAP Photographer and Year the of Photographer been commended highly and awarded with numerous professional accolades the including Agfa Professional Industrial Times Interesting including exhibitions has group several and in 1930s-2000 Australia participated and in 2006 arts in Sydneyand Gallery, visual 2005 Draper theBoutwell at2004, and exhibitions solo 1961. photography held since has He Australia with across work his association exhibiting been long-established a has Woldendorp Richard RIC Print AwardFremantle Kati in 2002. is represented and around Australia. in private public numerous collections the in commended highly wasalso and Award WAthe 2003, in Printmedia won has severalincluding she awards, years Western Australia, Tasmania and Victoria, and has undertaken two residencies in printmaking Western Australia. Over the being V H Field of Vision of Field IN ROBERTSON ARD H Confabulations AMO W , National Library of Australia, 2004-05; 2004-05; Australia, of Library National , O LES LDENDORP Memorial Hospital and Princess Margaret Hospital, John Curtin Gallery, BankWest, the Kerry Stokes Collection, Perth as as Perth StokesCollection, Kerry well as private various thecollections. BankWest, Gallery, Curtin John Hospital, Margaret Princess and Hospital Memorial development of isnew representedMichele Perth; work. Royalin ofthe collections Artbank; Hospital ,Perth Edward King grant she byreceived for Board of Council the aArtsWA. In the2006, Craft Australia Arts Fellowship grant from the Visual and installation Sydney, Arts at wasa inSydney. awarded the residency Gunnery, Visual Michele film abyfollowed 2005, In a and Mid-Career Perth, in Gallery Fiddes de Goddard at paintings of exhibition an shows: solo two held she 2006 In installation. film/video and focusespainting on currently practice Theunissen’s Michele MIC Stokes Kerry andCourt; Perth the Collection, Ian & SueCollection. Bernadt à Holmes ofWA;ofJoondalup; City Gallery Art the including collections private and severalpublic inrepresented is He program to the Gunnery, Sydney in as 2004 well in as numerous participating group overexhibitions the past fifteen years. received an ArtsWA development grant in 2002 and was involved1993 and Perth in Düsseldorf, the Artists’ Foundation ofGalerie at1993, all Western Australia exchange exhibitions: solo Mike Singe graduated with a Bachelor of Arts (Fine Arts) from ofCurtin University Technology in 1990. MIKE SINGE He has since held four inYallingup 1989York Galleries, and and Gunyulgup the BayinPerth Gallery, 1991. Peter lives andin works Perth. in receivedcommended 1985. highly atHe Centre has thehad Art Fremantle insolo exhibitions 1987, Gallery, Minc Salek in participated innumerous group exhibitions Western theAward Art Australia, including Mandorla in exhibition which he He has tradition. manuscripts 14th and the illuminated Gothic period, painting high and 15th and Flemish Italian century ofthe architecture and art byEuropean influenced particularly been has work ofhis (Sculpture). direction The Arts Fine Peter Saxon was in born Perth and graduated from the Claremont School of in Art 1982 with aof Diploma PETER SAXON of ofAustralia. and theGallery Victoria National Gallery National commissions at His the Print Australian inand Workshop Melbourne he 2005. has been in acquired into the prize of collections Project ofthat the Art Gallery Art WA,for the Aboriginal again Embassy selected Convention RoyalCentrethe and Perth was Netherlands opened newly forthe work and include 2003 in painting for prize Award Islander Strait Torres & and 2003 in included have These interstate. and Perth bothin exhibitions several group in participated has and 2005 and 2003 2000, in Gallery Fiddes de PeaseChristopher studied graphic design at Perth Technical College in the 1980s. He has held C solo atexhibitions Goddard , Museum of Contemporary Art, Sydney, 2005 and Sydney,2005 Art, Contemporary of Museum , H : New York, the lab gallery, New York 2004; 2004; York New gallery, lab the York, New : RISTOP , Gallery 460, Gosford, NSW, 2000 and NSW,2000 Gosford, 460, Gallery , H E at the Beaver Galleries, Canberra in 2005. She has been involved in numerous group shows in in shows group numerous in involved been has She 2005. in Canberra Galleries, Beaver the at LE T H H ER ER PEASE EUNISSEN Right Here/RightNow Right Configured Are weyet?Are there Wide Open Wide , Lawrence Wilson Art Gallery, Perth, 2006; 2006; Perth, Gallery, Art Wilson Lawrence , at Lawrence Wilson Gallery in 2001, the opening of the National Gallery of Victoria Victoria of Gallery National the of opening the 2001, in Gallery Wilson Lawrence at at the National Gallery of Australia in 2006. Chris won the Telstra National Aboriginal Aboriginal National Telstra the won Chris 2006. in Australia of Gallery National the at , 2003; ,2003; Visions of O’Connor: CY and the Weir, the and CYO’Connor: of Visions Run with the hares &hunthounds the Runhares with the with A Face in the Crowd the in Face A Seven Sisters: Fibres Works Arising From the Seven West Works Arising Fibres Sisters: Clouded Over Clouded Forgotten Works from the Private Collection Private the from Works Forgotten Floating , Lawrence Wilson Art Gallery, Perth, 2004; 2004; Perth, Gallery, Art Wilson Lawrence , , Fremantle Arts Centre, 2006. Richard has has Richard 2006. Centre, Arts Fremantle , , National Portrait Gallery, Canberra. His His Canberra. Gallery, Portrait National , In a New Light: Australian Photography Photography Australian Light: New a In Mix Tape 2 Tape Mix Mundaring Arts Centre, 2005; 2005; Centre, Arts Mundaring , Art Gallery of WA,2005- of Gallery Art , ,1999 and Elastic Boundaries Elastic , 46 Grafton Road,2001. Mike Grafton 46 , that toured Toys for big girls and boys and Toysgirls forbig at Artspace Artspace at , RICHARD WOLDENDORP Kate Campbell-Pope HARRY HUMMERSTON Michele Theunissen Christopher Pease Madeleine Clear Michelle Hogan Kevin Robertson BARBARA COTTER DAVID GREGSON GEORGE HAYNES Philip Gamblen Hans Arkeveld NALDA SEARLES Jo Darbyshire Andrew Daly PAUL CAPORN Stuart Elliott BEVAN HONEY Ron Nyisztor ANTONY MUIA JÁnis Ned Aadje Bruce GINA MOORE BRIAN McKAY Jane Martin Peter Saxon Nigel Hewitt GREG JAMES Peter Dailey RINAFRANZ Kati Thamo MIKE SINGE TRISH LITTLE SU BAKER BEN JOEL É la

EXECUTIONERS Hans Arkeveld indoctrinated to see wrong as right. as wrong to see be can used indoctrinated we how have I question to inwards which for looking response microscope Camps, my inverted the and Extermination of mouth, number the a over visiting to binding the legend, local combines It some Auschwitz. and Krakow to visit a from resulted image This 2006 now. and then ofmyself areflection much very is and response to Krakow, conflicting of mya visit own result the is image This 1995 Courtesy oftheArtist 49 x2140cm Fondu wood,resin, cloth Krakow Vision , 1995 is, studies from life or by using mechanical or digital digital or mechanical using generation. ofimage means by or life that from sources, studies is, non-objective or objective from draws content the whether power communicative painting’s of nature the exchange reflective this consider would I ofpainting. practice the of observer, part all are and meditation, and absorption of observed moments the between relationship a watches, that looks, that face and object painted The and passive a is painter, one. egoless the is that observer, the of role the being, a live or the inanimate is gaze of the object Whether appearance. their and objects these to submission a requires world objective the from Towork viewer. the and painter the between and experience me, for and practice, materials one that between involves an exchange reflective and active an is Painting 1997/2006 Courtesy ofMurdoch UniversityArtCollection 45 x145cm Oil oncanvas Studied Expression , 1997

SU BAKER Aadje Bruce of all the complexities and wonderful wonderful and whirl oflife. noisy arrangements complexities big the a all in of token small a just faces, being looking and interests and pretty tastes revealing or worried looking, fresh tired, of now, and ages one of earlier a conglomeration just a not rather is likeness, me off for portrait self A 1999 Courtesy oftheArtist Self Portrait 83 x59cm Collage , 1999 more complete picture. complete more a get to as so takes several in subject a record should I Ideally, a think self portrait ofthese. juxtapositions possible and arrangements and patterns repetitive bold, in interested very I am still subject. ofthe dislikes likes, interests, the of some viewer the conveytoto able be somehow should portrait self a think still I 2006 Courtesy oftheArtistandPrivateCollection Dimensions variable(approximately50x3510cmeach) Fabric, solderedwire,wood,acrylicpaint Introspection way, this In sites ofits own voice.toimportance. the holds body symbolic Personal experience becomes located in the body, mapping itself in relation 2001/2006 , 2001

Kate Campbell-Pope Match, 1999 Red head matches, marine ply 120 x 120cm Courtesy of the Artist

1999 2006 In representing myself as a portrait I have taken an This work, originally produced in 2000, played with PAUL CAPORN aspect of myself that most people identify with me: the schoolyard taunt, which describes the “match” red hair. For the last 6 years I have had one haircut between my hair and the matches (red heads). It was a year, shaving my head and saving the cuttings. also a reflection on the impermanence of life and This sudden change from long hair to short creates the image of myself. Being made from matches, the a shift in the way people come across me, relative work decayed over time. This reworking of the original to our relationship. This often provides a few laughs piece, by repainting to making the matches more and some uncomfortable moments when I am not permanent, is like a snapshot of how I used to be. It’s readily identified. My two dimensional works have funny to see it now. had a long involvement with the grid as a structure used as a means to dissect and categorise. In this piece I have emphasised the wood grain as the structure over which my image has been laid. Then placing my hair in the match boxes which form a grid. I enjoy the idea of quantum uncertainty, where an object is affected by the mechanism of observation. The effect of self observation is always surprising but difficult to maintain because of its shifting structure. view rather than that of solely observation. ofsolely that than rather view of point this from portraiture self of probably subject the would tackle to I need the so feel imagery, metaphoric making in interested more has time face.I becoming am However, tosame my that work the in recent wrought changes the observing objectively work As another make portrait. to self interesting be would it this based observation making mostly been has since work my passed have years ten than More 2006 truth. for light with looking –just inward looking not I have tried to be objective – not not forward, looking backward, looking 1995 Courtesy ofLesley AnnGrimoldby 75 x71cm Mixed media:gouache, charcoal,pastel My HeadinSpace , 1995

Madeleine Clear BARBARA COTTER 30 x105mm,$230 silver, on copper,setinstirling Opaque whiteenamel Tracings 1 Courtesy oftheArtist Tracings Series Courtesy oftheArtistandRobynHartman Dimensions variable(approximately 30x155mmeach) Enamel oncopper,sterlingsilver Tracings series , 2002(detail) , 2002 occurred. Making the works beautiful, I recognise the beauty I see in the body’s ability ability body’s the in to heal. see I beauty has the damage recognise I after beautiful, through works the goes Making body occurred. the healing of processes the explores work the with Luminous the in of beauty the they uncomfortable memories provoke,their materials, the despite remain always will passes. that accident oftime length the of tracings that recognise lingering faded, have those scars the of some Though I ago. years lacerations many facial accident car on a based after are received series this in brooches enamelled and repoussed The skin. torn suggest ofscars marks suture and creases the age, feet show of crows crinkle the experiences: lived to reflect over time change Faces 2006 remains. memory now faded evident, completely, traces of are the Though some only having still the marks in The show work this refers to I scars facial received from a car ago. many accident years 2002 enamel onfinesilver, Tracings 3 30 x105mm,$275 set instirlingsilver, copper, Opaque redenamel on Tracings 2 Clear 30 x155mm,$240 set instirlingsilver, Opaque redenamel Tracings 5 30 x5mm,$275 silver, on copper,setinstirling Opaque whiteenamel Tracings 4 30 x5mm,$275 silver, on copper,setinstirling For every new face, there’s epoch. new anew every For screens? or we projectors Are beings? mature we as are interactive How have. others as perception the transitory as is oneself of has one image The portrait. a“self” to visualise astruggle it I found 1996 process of decay and rejuvenation soldiers on. soldiers rejuvenation and ofdecay process Even the in the face denials of some spectacular inevitable and own process. patination their existence with deal human individuals of how in residue interested am the I show, seeing this of context the In dwelling epoch. new any on of way the in got process making Thankfully the etc? What necessary use? is to treatment surface materials like; What fore, appropriate? is the to what leapt conceptually is it I want to say? What image the considerations all before other just was That exhibition. this into invited initially when second think split An a I for a that felt usual. I than it. artist rawer” the or back about see “paired to little viewer “unplugged” the for the opportunity of hold to notion appears a portraits self of a exhibition An hold still 1995 portraits alike. spectators and self artist for fascination testament, bears Own Executioner) (Mine exhibition as annual this yet portraits, self with littered is art of history The 2006

Your Self Portrait, 1996 Mixed media 50 x 48 x 10cm Courtesy of Murdoch University Art Collection

Peter Dailey Andrew Daly Into the realms ofdarkness. realms the Into sinking, or sun, the towards depths, murky through up Rising ages. the through Down my reflection see amirror holding And follow Ishall and to me Whisper 1997 Courtesy ofPrivateCollection 44 x33cm Oil onBelgianlinen Self PortraitintheStudio around the world. It was my first time in in time trip did first my was month It I world. four the around paintings a from first returning the after of one is This 2006 just someone on my mind? on someone just or muse my she is - ear my in whispering to be seems She of a friend. a drawing is all are I whom of The image admire. a Hokusai artists girl and Morandi Rodin, a of postcards three - me behind wall the on things are background the in The images objective. stringently is it think I But portrait. it as a flattering have described friends uncharitable more my of Some so hot that is why in summer shirtless. Iam very was had I studio The of lot museums. a art at looked mainly I and Europe , 1997 In this self–portrait I am stripped of all ‘identity’ ‘identity’ all of stripped am I self–portrait this In Ireland). or England in born one Sterling, to opposed (as in of born Australia white generation children first the to given name the was Lass/Lad Currency A 1995 n wa wl w cl te is gnrto of generation first the aRepublic? into born call children Australian we will what and How many generations will it take or for reconciliation lass’ ‘currency people. a West still generation Wadgella’, yet urban white in person, the eyes of Aboriginal fourth and an in a Australian ‘whiteness’ I’m my environment. of that except goes so quickly and is so precious. precious. so is and quickly so goes the for time that me waiting remind Portraits still arrive! to am Republic I and with I greys playing and was silver white, and black the like still I more have I and on portrait I back that When look days. these fun shorter hairs my well, - MMM 2006

A Currency Lass, 1995 Oil on canvas on aluminium 83 x 67cm Courtesy of Murdoch University Art Collection

Jo Darbyshire Stuart Elliott Courtesy ofKerry Stokes Collection,Perth Dimensions variable (approximately275x9095cm each) Wood, particleboard, paint Core Sample plant. of industrial that beyond existence its certainly ofone’s then meat, but uniqueness the strictly structure, not to, if back one corporeal bring to tend do than eyesight flawed and view of fingers little point arthritic more as myself regard still I all. at changed not and lot a changed both have things guess I later, years Ten 2006 one if misinformed. sadly been endeavour, has one then approval, for human purely art makes non-transactional of significant areas of many Like muse’. lumps the with ‘cruise arbitrary term long and of obsessive own my concerns chronology, arrangement personal an work, This appearance. specific can’tits my can of and than what body do rather conscious far more I am metaphor, and symbol in chiefly works who a sculptor As thereof. literal image a or meat configured uniquely of terms in myself of think to difficult It’s 1995 , 1995 for the inner character. inner the for of of and search my the subject own memories During this process I reflect on the accumulation relationship. “I-YOU” the of result the is process thought the behind these answer complexity the that to come have understand to attempted I difficulty. great with but my work, in questions often have I answers. than questions more play into brings and complex am I?” very is for “Who quest The that process. making the questions during ourselves the ask artist, by as we, affected is portrait A 2000 representative to the most intimate” most to the representative the from stages of number infinite an through necessity, run can On which idealisation, him. an is shows it what near people the the in of appears eyes he the as reproduce represents to it tries individual never portrait a “For 2006 Courtesy oftheCruthersCollection 73 x55cm Charcoal, pastelonArchespaper I-YOU , 2000 Richard Brilliant Richard “Portraiture”

RINA FRANZ PhilIP Gamblen the time. the 4.1% of about only for projected screen the on is image The what discrepancy is. and actually a see you is situation what between there a which presents in Portrait Self ofasecond. 3/1000 than more slightly of duration a with (of each images screen the across flash 16myself) seconds 1.22 Every 2000 Courtesy oftheArtist 35 x4061cm Film, mixedmedia Self Portrait , 2000 only exists within your own mind. mind. own your now. no is There within exists only seeing are you think you what and blank is totally screen the of time the 95.9% remaining the for ...Therefore, 2006 15th Sept 3. perhaps or good, 2were 4 portraits. done has David again. house and David to see pleased Felt Keller. for Darlington I left 14th July self Started happier. No1. than better is it Said 2. No be portrait to seems David 4th July self his with. to grips for canvasses Has, and to portrait. it is in finding difficult come blocked David June 30th position. in placed and cleaned was Mirror portrait. self his contemplating David June 29th 1995 : Gregson, Gail of Diary the From 2006 more disturbing. than experience several the made found I and myself. attempts paint to had have desire I no psyche my in reasons deep For are painting. which and with artist relationship subject, a wonderful A occur. can a an rapport, intense and in depth exchange If intimate experience. and there privileged is most a be can model live the from Working 1995 champagne, wine. champagne, sherry, – bottles 3 given participating artists all and David freely. flowed wines Seppelts and food of Plenty opening. great a was It Centre for opening of (self exhibition portrait). Arts towent Mundaring He to back. be glad He was afternoon. early home arrived David night. Topic self portrait and his own views Wed views own art. on one his and Centre portrait self Topic Arts night. Mundaring at his for talk lecture preparing in engrossed Very 19th Sept 1995 until his death in 2002. in death his until paint to continued he where Kellerberrin contents in the abode 2nd our to studio all Darlington his from relocated David 1995 In evidently. informative very was show slide and talk Bolt’s Barbara well. went it said he Not many people at David’s lecture. However Sept 20th Courtesy ofGomboc GalleryandSculpturePark 56 x55cm Oil oncanvas David , 1995

DAVID GREGSON 1995 None

2006 Portrait of the painter’s palette as he ponders the pigments. GEORGE HAYNES

Flashe Autoportrait, 1995 Acrylic on canvas 180 x 60cm Courtesy of the Artist impart something that is quite personal personal of viewing. experience to the quite unique and is that something impart will viewer each that knowing viewer, the by received be would it how was portrait self this on working when consideration A 2006 or ofoneself? at aconstruction just looking are we what really see we what is So subject. the than viewer the of more reflects that viewpoint encompass external an then they outside, the from never the whole. When viewing these parts parts, are oneself of even sees, one What 1995 about this image’s construction. Rather Rather construction. image’s this about went I that way the affected thought This it. onto experience impart their and themselves they as viewer about the image with the necessarily way interacts the longer about but no artist the is It it? portrait whose is of arises question the So 1995 symbolise a time, a place, a beginning beginning a end. an and place, a time, a symbolise routine that daily things over: control no our have we that affect symbolise that things that the I objects visage depicted a as have myself representing than Courtesy ofPrivate Collection 56 x75cm Mixed mediaonpaper Mirrored , 1995

NIGEL HEWITT MICHELLE HOGAN Courtesy oftheArtist Dimensions variable(approximately46x3510cmeach) Plaster, pigment,othermedia Skeins possess. we all that dualities the hard, the and soft The personality. one’s of facets many the (self), I how see to word or sentence, one difficult basically it in toput, To try myself. found I describe could portrait self of idea the considering In 1999/2006 , 1999(detail) Another doodle in a black skivvy, 2001 Biro on blotting paper the black biro and started started again. and up biro picked black doodling, – the stopped just I was so realised I I that visual and engagements, meaning with layered and loaded image an construct to trying Whilst 2001/2006 118cm x 79cm Courtesy of Simon Gilby

BEVAN HONEY HARRY HUMMERSTON in some way a self portrait. a self way some in is it of all nearly that work past my at back looking realise I however myself, of likeness some create to I in which have attempted portrait self is the first This 2004/2006 Letterpress leadtypeframes,lockingkeys Courtesy oftheArtist 420 x61025cm Untitled , 2004 GREG JAMES

A Work in Progress, 2004 Bronze, 1/8 (edition of) 80 x 73 x 40cm Courtesy of the Artist

2004 I have enjoyed the exploration and development of this work. I hope you enjoy the result.

2006 I have modelled myself modelling myself. I am a work in progress. I am my own sculpture, my own creator. I am “Mine Own Executioner”. I blame no other for my failings and to no other do I give credit for my successes. BEN JOEL Courtesy ofMurdoch UniversityArtCollection 94 x125cm Oil onboard In FutileParenthesis It understands that we are hollow in the middle and that understanding this is healthy. is this understanding that and middle the in hollow we are that understands It dangerous. the and fragile the doubt, its in to reach, wants It dubious. is touch where gap ahuge leaves It stupidity. faceofits the in ofhumour asense to maintain tries It to touch”. of“how sense the to touch struggled It hum. Ho Love, Death. and Sex about is My picture 1999/2006 , 1999 little self-ish now. self-ish little a seems mat world meme The the changed. and have me, you, years five Over 2006 something. for me wanted someone introspective, contemplative, be and objectively tosubjective, off went I Everytime 2000 Courtesy oftheArtist 1080 x45cm Various fabrics, meme mat , 2000

TRISH LITTLE BRIAN McKAY h aaoy s ih pcmn udr a under specimens microscope.” with is analogy The and – to afar. close from simultaneously be seen to has subject the because seeing, of terms own its within deep is artificiality The rigid. and stiff appear portrait average the makes which – painter the of is It distance. on the part – this its and not inability technical formal by a upon must insist nature portrait public painted “The 1996

Penguin Books 1972 Books Penguin Self Portrait, 1996

“Ways of Seeing” of “Ways Oil on paper mounted on canvas 97 x 83cm Courtesy of City of Bunbury Art Collection John Berger John bore a reasonable likeness. areasonable bore five or six selected the studies, one I thought after and easel the to it pinned reverse, in I took a of photograph myself, had it printed us. see others as ourselves see we never and that in image, the realizing mirror challenging intriguing, experience the found I portrait. a self Own I had never painted exhibition, Mine Executioner Centre’s Arts Mundaring the 1996 in participate to invited being Before 2006 against the bench, using the jars of pickles as the lever, the as hinge. the pickles of jars the using bench, the against mirror the of tilt the enjoying was I visually, formally, And, turnip). swede –one ingredient (secret Pickles Branston like to taste pickles some made just I had 2006 None 1995 Courtesy oftheArtist 66 x61cm Oil onboard Making BranstonPickles , 1995

JANE MARTIN Courtesy oftheCruthers Collection GINA MOORE Portrait inPaint Oil onboard 50 x50cm , 2004 rather than using it to describe the the describe to skin. ofthe tone and texture it using than rather to seem colours advance while others seem to some effects recede), way spatial the its (i.e. for colour interested using more was in I portrait this In 2004/2006 a pyramid of circles added to the background background the to added circles of pyramid a with enhanced later was picture The his nakedness. of happy obviousness man gross the a despite in - blend to surroundings his in background. figure, Swimming the into blue blending a entirely originally almost was man evolved naked and The changed It form. present its in up ending before times period. many long a for progress in awork remained that apicture is This F with (Man 2006 lowers) people to see and be seen without coverings. without seen be and to see people of desires the - nudity of study my encouraged has which activity is an interesting portraiture self The of process of purpose this exhibition. defusing the serves arrangement) floral (the table the on own prop The your debauched. is it as innocent exhibit as is cock to - seen be to - exposed be To form. urge existing the the decorate or from and create to arose pattern handmade this - truth. naked The occupies it space the and body My physical skin my own in To comfortable be Thoughtlessness Truth) Naked (The 2001 The Naked Truth, 2001 Mixed media on paper 120 x 85cm Courtesy of Private Collection

ANTONY MUIA JÁNIS NEDÉLA

Enigma : Death by a thousand pricks, 2000 (detail) Washers, nail tacks, pencil, enamel paint on black and white photograph 71 x 59cm Courtesy of Curtin University of Technology Art Collection, Gift of David Forrest in different colours to represent words associated with the word Enigma. word the with associated words to represent colours different in to Locked image. into create the a a are washes pattern painted disturbing grid help photograph, portrait & self of white black the surface the perforating Nails Portraits. Rose titled and bloom A piece to companion a suite of 13with a each dealing rose self portraits flower/ 2006 None 2000 the fear of shrinking and then completely disappearing. completely then and of shrinking fear the and teeth my in feel could I lines wobbling of sensation the was There a of recollections the hallucinations. by associated the fever and inspired diptych a is ‘Fever’ portrait self The 2006 None 2004 Courtesy oftheArtistandGalleryEast 80 x60cmeach Oil onboard,diptych Fever , 2004

RON NYISZTOR Christopher Pease are in total conflict with my Nyoongar heritage. my Nyoongar with total conflict in are ideologies and beliefs my indigenous that western find I often and of that all which I including am myself Australians. a of product in submergence this culture submerged the are is other It internet. the and radio our in television, art, present performance and is visual music, It fashion, culture. Western’ ‘ or ‘American’ the is which present by at culture within dominant The determined culture raised. are is we the and area we environment the who both of portion large A 2001/2006 Courtesy ofLagerbergSwiftCollection Oil andgraphiteoncanvas,diptych Self Portrait,Christmas1975 152 x172cm , 2001 1997 I often work on self portraiture but I’ve never coupled one with food before. Not wanting to be completely distracted by the theme, I chose to approach it as a diptych so that the emphasis is split between two parts, both hopefully equal. One image is a fairly straightforward self-portrait drawing, the other uses nasturtiums. The idea of edible flowers is still quite novel to me and very appealing in that you can actually eat something that seems to be made solely of bright colours.

2006 As you go on it gets harder to believe anyone’s ideology, even your own. The excitement of making images has not changed in spite of this. More exciting is going to the studio (like Gulley Jimson) the next day and seeing what it is you have been doing. Painting stays interesting for me because it deals with subjectivity. You can see a picture a different way every few moments. It was created with different levels of awareness and is unwound exactly the same way. Self-portraits make this process even more interesting, because the initial object is my face - familiar and also a bit unknown reflected in the old perspex mirror that Ross Campbell gave me. KEVIN ROBERTSON

Self Portrait 1997 Self Portrait with Nasturtiums, 1997 Charcoal and pastel on paper Oil on paper 31 x 37cm 31 x 37cm Courtesy of Murdoch University Art Collection Courtesy of Vera and Bill Robertson 1998/2006 I sat down and made this likeness. The experience was interesting, frustrating and a little sobering. PETER SAXON

Self Portrait, 1998 Graphite and white chalk on paper 31 x 24cm Courtesy of Private Collection where these multiple images - not so bad, for an an for bad, so experimenter. not - images there multiple these return in where course, Of stronger. it make would the on film in winding the that more belief exposures without exposures four or take three I would photos, to take brownie box my parents 1960 I used In when ofoneselfness. aportrait is photograph each end remember and excludes that which we do to chose not. we In which the that of reminder a as always us with is it photograph a with issue the is as Ironically 2006 Our remember. not you Icould them Itold see did what me portrait? asked they the when seeding…and up of process a and make barrier a both as act experiences visions many How 1997 or a puddle ofwater. apuddle or photograph a through be it whether image, mirror a within ourselves, perceive really ever can we way to able in a comprehend way. be different it Perhaps is the only somehow would I rectangle view small the a to reducing by if as - made intently camera more no the look if me as was was It there camera. the when in film even photos taking walk around would I when time a was There worlds. my of from my All these eyes, ‘self portraits’, mirrors corners (me). ofthem less become or more have draw will what and I obsolete am become myriad wondering left this these into and packed job mm digital 35 flash a have I Now 1997

Self Portrait, 1997 Photographs, wood, fabric and grass 55 x 370 x 20cm Courtesy of the Artist

NALDA SEARLES MIKE SINGE Courtesy oftheArtist 77 x58cm Digital print Swap , 2004 the conversation encompasses the polite query query polite the encompasses conversation the When I meet somebody for the time first inevitably 2004 society places on my visual art activities and and activities value art society. of that amember as the my status visual therefore my question on to places society attempt an is “Swap” adjectives. letter four choice ofsome most the made creatively that answers several recall personally innocuous can I varied. this and many to are question answers the and opinion an have to seems Everyone worth? artist an What’s 2006 and activities art society. of that amember as my status visual therefore my on places society value true the question to attempt an is “Swap” artists). visual (and arts visual the of on places view society value skeptical the my my to linked Obviously is first. apprehension stated and be important hesitate most therefore the should sometimes is option I which to here as even an as but b) and a) answer, options both give I Inevitably a). up option as take time much as not does this Fortunately bills. activity the pays this as correct be also could b) Option this from living a earn pursuit. not do I Unfortunately time. my of activity majority the the is consume to seems it that as correct be could a) Option Iam: give. Ishould answer makes always me as nervous I do not know which question This living)?” a (for do you do what “So b) an art technician at a high school. ahigh at technician b) art an artist. a) avisual turn somersaults….. turn long longer no I a nostalgia. in melancholic some with self found youthful my cloth of scrap at bay, I view a apprehensions …….keeping drawer. unopened like is this back, Looking 2006 selves. ofour fabric histories, and memories of and how of and they cultural, part the become both personal imprinting the about is work This 2001 Courtesy oftheArtist Untitled 82 x65cm Linocut , 2001

KATI THAMO MICHELE THEUNISSEN has played a part in shaping my life. my life. shaping in apart played has failure system: social and the support byof family of contrasts The ‘necklacing’. the procedure wrought horrors of reminder a is neck my onto projected hoop hoola- The and cruelty. of space injustice political an invisible within are framed games these But enjoyment. innocent in of belief a moment is there and inseparable easily, are images these mind my playing shows children The projector In South Africa. up from in growing apartheid memories. of lots and dust of films. Lots super-8 old dad’s my unpacked had I after about came self-portrait This 2006 watched. Watching, ourselves. of projections behind lives Watcher. the of eye The 1999 Courtesy oftheArtist Video Self Portrait , 1999(detail) the left. the on surface rock white the in repeated is foot e and this p approach the e a h T c s hy. shadow complements d p ra n g n a i oto l h p n o i t c a y r m t s b a f o degree certain a like I 2006 made. be can many statements than the of one only is this of the endless possibilitiesthe mirror but because tools are the cameralandscape; theand e obvious p a the in c like myself s place to I d n a l photographer a s A 1996 One Foot in the Landscape, 1996 Cibachrome print 72 x 50cm Courtesy of the Artist

RICHARD WOLDENDORP MINE EXECUTIONER ARTISTS 1995 - 2004

Gary Aitken | Garry Anderson | Jenny Anderson | Daniel Argyle | Hans Arkeveld | Michael Arnold

Shaun Atkinson | Claire Bailey | Alan Baker | Su Baker | Marcus Beilby | Merrick Belyea | Philip Berry

Brian Blanchflower | Cathy Blanchflower | Barbara Bolt | Penny Bovell | David Bromfield

Aadje Bruce | Vanessa Buemi | Adrienne Buttrose | Kate Campbell-Pope | Paul Caporn

Douglas Chambers | Gina Cinanni | Alan Clark | Madeleine Clear | Hannah Clemen

Nicholas Compton | Penny Coss | Barbara Cotter | John Cullinane | Peter Dailey | Andrew Daly

Jo Darbyshire | Melanie Dare | Bec Dean | Domenico de Clario | Jon Denaro | Julie Dowling

Kevin Draper | Mary Dudin | Geordie Duncan | Stuart Elliott | ericaamerica | Caspar Fairhall

Galliano Fardin | Nola Farman | AnnE Farren | Helen Fitzhardinge | Susan Flavell | Judith Forrest

Rina Franz | Donna Fulton | Dawn Gamblen | Philip Gamblen | Indra GeidAns | Simon Gilby

Inta Goddard | Ron Gomboc | Lorenna Grant | Nigel Gray | Stuart Green | David Gregson

Jocelyn Gregson | Richard Gunning | George Haynes | Nigel Hewitt | Sandra Hill | Paul Hinchcliffe

Thomas Hoareau | Marie Hobbs | Michelle Hogan | Bevan Honey | Glen Hughes | Jim Hughes

Harry Hummerston | Greg James | Ben Joel | Pam Jones | Tony Jones | Robert Juniper

Siobhan Kelly | Trish Kent | Jeremy Kirwan-Ward | Mary Knott | Evelyn Kotai | Richie Kuhaupt

Lou Lambert | Robyn Lees | JULIE LEWIS | Trish Little | Coral Lowry | Melissa mcdougall | Clare mcFarlane

Amanda mcHenry | Brian mcKay | Jane Martin | Mardi May | Minaxi May | Vanessa Mazza

Jenny Mills | Paul Moncreiff | Gina Moore | Mary Moore | Antony Muia | Laurel Nannup

JÁnis NedÉla | Anne Neil | Tee Ken Ng | Matthew Ngui | Andrew Nicholls | Ron Nyisztor

Philippa O’Brien | Paul O’Connor | Michael O’Doherty | Tony Osborne | John Paul

Christopher Pease | Sedon Pepper | Felicity Peters | Krystyna Petryk | Pearl Rasmussen | Trevor Richards

Kevin Robertson | Alessandra Rossi | Carol Rudyard | Megan Salmon | Philip Salom | Peter Saxon

Eric Schneider | Nalda Searles | Mike Singe | Michelle Slarke | Helen Smith | Jill Smith | Miriam Stannage

Angela Stewart | James Tapscott | Jon Tarry | Steve Tepper | John Teschendorff | Kati Thamo

Michele Theunissen | Patrizia Tonello | Paul Trinidad | Heidi Trudinger | Linda van der Merwe

Rick Vermey | Margaret Vinciguerra | David Walker | Debbie Walker-Tremlett | Yvette Watt

Virginia Ward | Kath Wheatley | Michael Wise | Richard Woldendorp | Lisa Wolfgramm | Trevor Woodward Writings: Photography: Design: Catalogue Curator: Writing: Photography: Design: Catalogue Curator: Writing: Photography: Design: Catalogue Curator: Jude van der Merwe der van Jude Frith Robert Merwe der van Jude Merwe der van Jude Andrew Nicholls Andrew McCulloch, Susan Cook, Robert Illari Peter Illustration and Design Peg Square Kerr Jenny Michele Theunissen Michele Frith Robert Merwe der van Jude Theunissen, Michele Theunissen Michele

1997 2000 2004 Writing: Photography: Design: Catalogue Curator: Editors: Writings: Photography: Design: Catalogue Curator: Writing: Photography: Design: Catalogue Curator: Richard Read Richard Frith Robert Merwe der van Jude Merwe der van Jude Jude van der Merwe der van Jude Barnacle, Margaret Gibbs Anna Brook, Donald Loopers Roel Merwe der van Jude Merwe der van Jude Travis Kelleher Travis Artists The JMackay Emma Kelleher Travis

1996 1999 2003 Writing: Photography: Design: Catalogue Curator: Editors: Writings: Photography: Design: Catalogue Curator: Writing: Editor: Photography: Design: Catalogue Curator: Stuart Elliott Stuart Barnacle Margaret Bird Leon Merwe der van Jude Elliott Stuart Jenny Kerr Jenny Agency Photo Acorn Illustration and Design Peg Square Kerr Jenny Lyn Sawers Lyn Merwe, der van Jude Clear, Tim Bolt Barbara Brady, Veronica France Victor Merwe der van Jude Clear, Tim Merwe der van Jude

1995 1998 2002 Writing: Photography: Design: Catalogue Curator:

MINE OWN EXECUTIONER Murray Sandra Frith Robert Illustration and Design Peg Square Murray Sandra 1995 - 2004

2001 a vapour? But when ourselves are the well that breathes out this exhalation, the oven that spits out this fiery smoke, the mine that spews out this suf- focating and strangling damp, who can ever, after this, aggravate his sorrow by this circumstance, that it was his neighbour, his familiar friend, his brother, that destroyed him, and destroyed him with a whispering and a calumniating breath, when we ourselves do it to ourselves by the same means, kill ourselves with our own vapours? Or if these occasions of this self-destruction had any contribution from our own wills, any assistance from our own intentions, nay, from our own errors, we might divide the rebuke, and chide ourselves as much as them. Fevers upon wilful distempers of drink and surfeits, consumptions upon intemperances and licentiousness, madness upon misplacing or overbending our natural faculties, proceed from ourselves, and so as that ourselves are in the plot, and we are not only passive, but active too, to our own destruction. But what have I done, either to breed or to breathe these vapours? They tell me it is my melancholy; did I infuse, did I drink in Mundaring Arts Centre Touring Exhibition 2006 - 2008 melancholy into myself? It is my thoughtfulness; was I not made to think? It is Mine Own Executioner my study; doth not my calling call for that? I have done nothing wilfully, perversely toward it, yet must suffer in it, die by it. There are too many examples of men that have been their own executioners, and that have made hard shift to be so: some have always had poison about them, in a hollow ring upon their finger, and some in their pen that they used to write with; some have beat out their brains at the wall of their prison, and some have eat the fire out of their chimneys;[169] and one is said to have come nearer our case than so, to have strangled himself, though his hands were bound, by crushing his throat between his knees. But I do nothing upon myself, and yet mine own executioner. And we have heard of death upon small occasions and by scornful instruments: a pin, a comb, a hair pulled, hath gangrened and killed; but when I have said a vapour, if I were asked again what is a vapour, I could not tell, it is so insensible a thing; so near nothing is that that reduces us to nothing. But extend this vapour, rarefy it; from so narrow a room as our natural bodies, to any politic body, to a state. That which is fume in us is, in a state rumour; and these vapours in us, which we consider here pestilent and infectious fumes, are, in a state, infectious rumours, detracting and dishonourable calumnies, libels. The heart in that body is the king, and the bran his council; and the whole magistracy, that ties all together, is the sinews which proceed from thence; and the life of all is honour, and just respect, and due reverence; and therefore, when these vapours, these venomous rumours, are directed against these noble parts, the whole body suffers. But yet for all their privileges they are not privileged from our misery; that as the vapours most pernicious to us arise in our own bodies, so do the most dishonourable rumours, and those that wound a state most arise at home. What ill air that I could have met in the street, what channel, what shambles, what dunghill, what vault, could have hurt me so much as these homebred vapours? What fugitive, what almsman of any foreign state, can do so much harm as a detractor, a libeller, a scornful jester at home? For as they that write of poisons, and of creatures naturally disposed to the ruin of man, do as well mention the flea as the viper[170], because the flea, though he kill none, he does all the harm he can; so even these libellous and licentious jesters utter the venom they have, though sometimes virtue, and always power, be a good pigeon to draw this vapour from the head and from doing any deadly