A RETROSPECTIVE 2008–2018 CONTENTS...... 05

APPRECIATION...... 06

FOREWORD...... 07

OLGA CIRONIS bio...... 09

2008 Cover Up...... 14, 55

CAITLIN YARDLEY bio...... 09

2009 Spill: The Insistent Body ...... 18 2008–2018: A RETROSPECTIVE A 2008–2018: CONTENTS PAUL CAPORN bio...... 10

2010 Absence of Occupation is Not Rest...... 22

TOM MÙLLER bio...... 10

2011 Capital City...... 26

EVA FERNANDEZ bio...... 11

2012 182 Days...... 30

HOLLY STORY bio...... 11

2013 The Lower Lands...... 34

MERRICK BELYEA bio...... 12

2014 The Majestic...... 38

ANDY QUILTY bio...... 12

2015 HOON...... 42

JON TARRY bio...... 13

2016 RESTRAINT...... 46

SANDRA HILL bio...... 13 2017 Goolugadup – Kal-ya-gul

‘Place of children - always; ever; continually .’ ...... 50

AFTERWORD...... 54 TILT retrospective 2018 on tilt reflection 05 historical information surrounding this unique historical information surrounding . place by drawing on diverse artistic practice places innovative contemporary The program artists in an exceptional heritage setting, to the site and its inviting them to respond history using the buildings, multilayered and collections of the Heathcote grounds . Museum and Gallery as a point of departure and development the research Throughout stage, artists build to the production communities, with Heathcote’s relationships the city itself, to environmental, from . Often historical, cultural and scientific groups philosophical, societal connections to broader out in the brought or historical concerns are of investigation artistic and curatorial process . and response cycle involves twelve to Each residency development eighteen months of research, during which artist and and production 1

2 . . Facing

- Swan River’s original littoral - Swan River’s vegetation; an initiation place for young Noongar men; a prospective site for what is now Perth, capital of Australia and a significant Western of people facility for the treatment mental health from suffering FOREWORD 32O0’’2’’S115O48’’02’’E - Kooyagoordup Approaching river either Point Heathcote from its of or land one is reminded within the significant position landscape . Situated between Swan and - the Derbal Yerrigan it - Canning rivers Dyarlgarro point on a occupies an elevated what is close headland overlooking view to an 180 degree Kings Park and sweeping toward and the sea you can Fremantle watch the rain coming in from the the coast and moving across one of the landscape . It remains most striking sites on the river and is imbued with an intense sense of place . A strategic vantage-point from which to oversee the river and adjoining lands; a noteworthy example of the Derbarl Yerrigan issues . In 2018 Heathcote houses a museum, gallery and cultural facilities for the community Initiated in 2008, the Tilt program was developed as an opportunity redefine upon and to reflect

2008 FOUNDER, TILT PROGRAM TILT FOUNDER, 2008 SOULA VOUYOUCALOS-VEYRADIER SOULA

This important . This important

The City will . The City will The City of Melville is extremely proud proud of Melville is extremely The City as Cultural Precinct to have Heathcote story part of the City’s a significant site brings together a place that historical narrative, memories and create continues today to . environment creative a vibrant arts and Tilt of the is the perfect example stories and their collision of these art . The City through interpretation of Melville, as the custodians of the sees site and the drivers of its future, these collaborations as the innovation and bold character that will continue Heathcote the City’s from to emerge Museum and Gallery a significant cultural destination Australia that is deeply in Western connected to its past . like to thank all the artists for We’d sharing these important stories in a new lens their own ways, for creating conversations and sparks which creates thinking . I’m privileged as the Mayor 10 of the City of Melville to recognise years of Tilt as an exhibition of Point . Heathcote/ Kooyagoordup continue to showcase, interpret and and continue to showcase, interpret as build Heathcote Cultural Precinct RUSSELL AUBREY CITY OF MELVILLE MAYOR

06 reflection on tilt reflection 2018 retrospective TILT

CAITLIN YARDLEY CAITLIN , Moana Project Space, Space, Medium, Moana Project 2009 SPILL: THE INSISTENT BODY THE INSISTENT SPILL: 2009 Ballarat,1984) (b . Ballarat,1984) and narrative . Yardley lives and works in London . currently at Goldsmiths, She completed an MFA University of London (2012) and an MA with Edith Cowan University (2007) . Caitlin Yardley’s practice draws on practice draws on Caitlin Yardley’s documentary and institutional research, material abstraction as methodologies and its relationship to consider the archive to constructions of distance, influence include; Recent exhibitions and screenings Mobile Composition, Maison Louis Carre with Association Alvar Aalto, Paris (2017); The Surface as Site: Exterior A, Artistic and Practice Based The Oxford Platform (2017); The Legacy Research Art Association, Complex, Nordic Stockholm (2016); Epic Narratives, Perth Institute of Contemporary Arts, Australia (2015); Return, Peter Von Perth (2015); One Way with Pendant Kant, London (2014); Tavern A110, Sunday Reed, London (2014); Open for Cube, curated by Adriano Pedrosa White Cube, London (2013) .

2008 COVER UP

TILT OLGA CIRONIS retrospective 2018 reflection on tilt

09 winning is an award Olga Cironis that multidisciplinary artist with a practice spans over 20 years, since graduating SCA with a Master of Visual Arts from University of Sydney (1996) . In her art is concerned with personal practice Cironis and collective identity and what identity cultural globalization . can mean in today’s migrant feminist foundation, a strong From belonging scrutinises ideas around Cironis and place by highlighting cultural and social norms . Her art practice is a poetic of the spiritual and physical expression spaces between bodies . Often inviting public participation and story sharing, succeeds to seduce the public to Cironis and question their reflect further explore, own place in the world . . C . . For several decades . Point Heathcote was named after Midshipman G . However, Stirling explained to the Permanent Under By dislocating the traditional museum the traditional By dislocating modes and using alternative methodologies Tiltof engagement to creating has contributed and of encounter and exchange, new forms spaces . new social consequently, community and staff In collaboration with activists and philosophers, members, thinkers, been seminal in the invited artists have relationships the the space and redefining and in creating it has with its community; about local and global narratives that speak concerns . my deepest I would like to express to each of the artists whose appreciation input have crafted insights, focus and creative a and whose work provides this program distinct entry point into each iteration of Tilt . Their engagement with the historical, and social contexts of the place environmental has contributed to an active dialogue on context and situation . and considered a remarkable Providing support the City of Melville has embraced in artistic and historical inherent the synergies inquiry and has collected innovative stories on a sense of place . reflecting its tenth year it is stimulating Now reaching to see the bringing together of the various from conversations and cultural connections . this program Hay, he . Hay, had chosen the Perth site as it was well timbered, had good water and better facilitated W . . . His intention was to assess the potential of the district for settlement Or Derbal Yaragan Point Heathcote was one of the landing and camp sites of Captain James Stirling during his exploration of the Swan River in 1 2 The program has participated in contemporary The program less predictable new, creating approaches . situations for both artists and audiences As the conduit, connector and conjurer between between and conjurer connector the conduit, As artists contribute to realms, these different of making the museum and gallery a place . We multiple identities and of transformation can look at the Tilt exhibition but the exhibition . has an uncanny way of looking back at us Tilt artists have developed a series of existing stories and objects, possibilities from new responses/threading developing creative was, narratives so that we can consider what what may have been, and what may still become . In framing the historical context of the In framing the historical site the artists Heathcote Kooyagoordup-Point of the past; moment us of the present remind always do so the past we when we recreate in a state of history rendering in the present, oft perpetual flux . As with William Faulkner’s Requiem for a Nun (1950) quoted line from . ‘the past is never dead, it is not even past’ curator engage in a dialogue in which the in a dialogue curator engage insights and sensitivities ideas, impressions, . This considered are response of each artistic and connected in an exhibition comes together with the held annually, public programs, an artwork from City of Melville acquiring each residency communication between the capital and both agriculturalists on the Upper SwanThe and Heathcote commercial Reception interests home where at the 'recoverable' port of Fremantle patients . could be separated from the senile,and epileptic after treatment or mentally returned deficient, to the community, was in itself a new concept in treating the mentally ill Heathcote, said to have been the first European to land there . Following the decision to establish a colonyHeathcote of free was settlers, favourably Point considered as the site of the capital city in 1829 Secretary for the Colonies, R Heathcote has symbolised in the community's mind the treatment and rehabilitation of theHeritage mentally ill Council in this State of WA, Interim . Entry: Heathcote Hospital, 3289 1827

. Story’s . Story’s HOLLY STORY HOLLY 2013 THE LOWER LANDS 2013 THE LOWER They now live in Fremantle with a research with a research They now live in Fremantle studio at the Deep River property time on the south coast was the beginning world of a focused dialogue with the natural of her practice . Her which is still at the core art life began in 1991 after professional Curtin University School graduating from with of Art, Perth . She works predominantly craft techniques and materials, seeking to draw on their deep history in human culture to develop new meanings for this century’s in many . She is represented culture creative public and private collections in Australia . Holly Story arrived in Western Australia Australia Holly Story arrived in Western England in 1970 as a seventeen year from bush old . In 1977 she settled on a large adjoining the Deep River on the property Australia with her south coast of Western partner Colin . They spent ten years at Deep River building a home and raising a family 2012 182 DAYS

TILT EVA FERNANDEZ EVA retrospective 2018 reflection on tilt

11 Canada Eva Fernandez was born in Toronto, and lives and works in Perth, Western Australia . Fernandez completed a Master for of Arts and has been a practicing artist digital over two decades, working across based media and installation . Fernandez’s practice is concerned with the exploration and negotiation of the space which she inhabits with its complex histories and cultural legacy of colonialism . Her work also navigates her own cultural dislocation as she negotiates pluralistic identity in to contemporary issues of relationship global displacement .

2011 CAPITAL CITY 2011 CAPITAL TOM MÙLLER MÙLLER TOM (2005), Museum of Primavera (2005), Museum of He is also the High Tide (2017) . He is also the The Adelaide Biennial of The Adelaide Biennial of (2009), Musee Maschi Fontana (2009), Musee Tom Mùller is an artist and curator born Mùller is an artist and curator born Tom 1975 in Basel, Switzerland . on 13 March Western He lives and works in Fremantle, Australia . Mùller has exhibited extensively both nationally and internationally, including Australian Art (2008), Art Gallery of South Australia; (2005), Contemporary Art Sydney; Mix Tape Australia; Luminous Art Gallery of Western WilsonFlux (2013), Lawrence Art Gallery as part of the Perth International Arts Festival; d’Art Contemporain Moutiers; 69e Biennale de la Chaux-de-Fonds (2009), Musee des Beaux-Arts de La Chaux-de-Fonds . at the Artistic Director Mùller is currently and is PS Art Space (PSAS) in Fremantle, a co-founder of the inaugural Fremantle Biennale, founder of Agency 296, a studio with a range of practice that combines a broad disciplines including public art, temporal interventions . installations and architectural

The The IS NOT REST IS NOT PAUL CAPORN PAUL 2010 ABSENCE OF OCCUPATION OCCUPATION OF ABSENCE 2010 Paul Caporn lives and works in Perth, Paul Caporn lives and works in Perth, and Australia and has exhibited nationally and nine internationally in over forty group in solo exhibitions, making art primarily animation, video of sculpture, the realms work often and installation . Caporn’s engages with certain themes that circulate notions of the museum and science . Often this involves a nostalgic play or a satirical is joke, dealing with technologies in what often a low-tech manner; describing the between people, memory, relationships time, space and places . This play element an uncanny is often negotiated through with familiar and domestic sensibility, together in a way that objects brought feels comfortable but does not fit . His work can be found in the collections of the Art Chamber Australia, WA Gallery of Western Art Bank, and Industry, of Commerce Stokes Collection, Ipswich Council, City of Swan, City of Melville, Curtin University of Sunset Events, Central TAFE, Technology, and many private collections . 12 reflection on tilt 2018 retrospective TILT

MERRICK BELYEA 2014 THE MAJESTIC JON TARRY 2016 RESTRAINT

SANDRA HILL 2017 GOOLUGADUP – KAL-YA-GUL ANDY QUILTY – ‘PLACE OF CHILDREN - ALWAYS; 2015 HOON EVER; CONTINUALLY.’

Merrick Belyea is a professional artist based in Perth, Western Australia . He Dr Jonathan Tarry has a history of practice maintains a regular exhibition program in and academic research spanning 30 years, Australia, including the Melbourne and with a PhD in Architecture from RMIT . Sydney Art Fairs, and overseas, including Working in sculpture, Tarry has been being invited to exhibit at the Australian featured in over forty solo exhibitions and a Embassy in the Philippines in 2001 and Art comparable number of public commissions . Stage Singapore in 2015 . He was featured Spanning drawing, painting and installation, His exhibitions include complex art and Noongar artist Sandra Hill was born in the Australian Art Collector’s Australia’s Andy Quilty’s work explores notions environment projects concerned with in South Perth in 1951 . Her mother’s clan Most Collectable Artists list in 2004 and of status, belonging and sense of place entropy and spatial histories . Tarry’s diverse is Balardong and Wilmen people and 2006 . Belyea is a very active member of within the colloquial banality of suburban art practice incorporates an extensive skill her father’s clan is Wadandi and Menang the Western Australian art scene playing Australia . Graduating with a BFA from set of traditional sculpture and painting people of Western Australia . In 1958 Hill a pivotal role in a number of artist-run Curtin University in 2003, Quilty regularly methodologies combined with the new was forcibly removed from her family . initiatives, most recently as an inaugural exhibits in solo and group shows in WA technologies and critical thought . “Art gave me a voice, which has made me member and current Chairman of the Art and interstate and is a Lecturer in Fine Recent shows include: Reasonable Dreams strong, it helped to guide me back home, Collective WA . Previous roles have included Art at The University of Western Australia at L Architecture Gallery Paris, 2013; back to my family, my identity, my people, Chairman of Artsource, Collections Officer and Program Patron for the Military Art Face to Face at Curtin Gallery PIAF 2016; my culture and community .” Through her at Holmes à Court Collection and Visual Program Australia . His work is held in Fracture at Los Angeles Centre for Digital works, which have been exhibited widely Arts Lecturer at Polytechnic West as well public, corporate and private collections Art 2017; Commissions include: Sky Shard and are held in major collections, Hill as various technical roles at Fremantle Arts throughout Australia . Quilty is represented at Attorney General Office, Canberra, 2011; is always endeavouring to diminish the Centre, John Curtin Gallery and the Kerry by Linton and Kay Galleries, Maunsell Convergence at Perth Stadium; Waterline at gap between Indigenous and non- Stokes Collection . Wickes Gallery and Margaret River Gallery . Yagan Square Perth . Indigenous Australians . TILT retrospective 2018 reflection on tilt 15 OLGACIRONIS

It was in 2008 that Soula Veyradier, the Curator at Heathcote at the time, invited me to be the first artist to respond to the newly realised Tilt program .

2008COVER UP The brief was to create a body of work that responded to the site and as an installation artist I couldn’t wait to begin . Over twelve months I had free reign to immerse myself in the physical beauty of Kooyagoordup/Point Heathcote and find my way through the hidden stories of Heathcote .

My time focusing on Tilt began in the heat of late summer and with the support from the art gallery and Melville museum and local history staff I spent many days at Heathcote researching, talking and walking . Some days I arrived on site to be handed new folders filled with information from Melville and Battye Library that the museum and gallery staff sourced for me . During the program I was introduced to a number of local people who shared their experience of Kooyagoordup/Point Heathcote and was able to interview ex-staff and patients of Heathcote . In between there were the quiet moments of walking the grounds to get 2008 COVER UP Olga Cironis: installation view immersed in the place . Heathcote is a place that Curator: Soula Veyradier seems to stand solidly still . For me each day I spent at Heathcote is like peeling another layer Heathcote is a place that of history away; of voices sometimes soft, other seems to stand solidly still. times screaming . For me each day I spent at Heathcote is like peeling In the end the final exhibition at Heathcote Museum another layer of history away; and Gallery was entitled Cover Up, a response to of voices sometimes soft, the experiences and research I underwent . It was other times screaming. an exhibition that spoke of things experienced; lost or hidden; love and loss; memory and time that connects us to place . Cover Up was an exhibition in which I used gold leaf directly pressed into the walls

Each . Each

. Their exhibition has added another interpretive layer to layer to added another interpretive . Their exhibition has has been a unique opportunity for me to work outside Tilt outside for me to work a unique opportunity has been and community professionals with artists, art of my studio our complicated history stories about to share members as as individuals and in our desire my interest and further by the physical beauty to belong . All made bearable a group space overlooking the water wide-open of Kooyagoordup, Tiltand beyond . I feel that has been a its inception to now from that has enriched us as a community unique cultural event brief and site in their own unique the artist has approached way to them through Heathcote represents or what Kooyagoordup only cultural immersion . Such exchange can visual language and each other enrich our connection to place and

TILT retrospective 2018 reflection on tilt

17 2008 COVER UP Olga Cironis: In my mind – rocking horse; blanket; speakers; sensors; amp Veyradier Soula Curator:

Curator: Soula Veyradier Soula Curator:

Olga Cironis: Help me be like you – wooden bed head and blanket and head bed wooden – you like be me Help Cironis: Olga 2008 COVER UP UP COVER 2008

speakers emanated the immediate sound of the human touch sound of the human touch speakers emanated the immediate of memory that life exists in the hidden crevices as a reminder Heathcote . and Kooyagoordup/Point Curator Jana Braddock In 2018 Heathcote Museum and Gallery as an Artist in invited me back to Heathcote to participate at months artist in residency a three be offered Residence . To Heathcote was a no brainer for me . I returned bringing with me the collected information and bringing with me the collected information and I returned 2008, this time with a studio overlooking the experience from months spent on Swan River and the city of Perth . The three site in a light filled studio with other artists was exactly what . I had the amazing opportunity to work the doctor ordered the team at the Swan River Print Studio with and learn from (HCP) with whom housed on site at Heathcote Cultural Precinct working collaboration . Curator Jana I aim to continue a strong of the cells, embroidered words into blankets that wrapped around and and into blankets that wrapped around words of the cells, embroidered . In the last of the spaces the local streets from sourced furniture covered to mini speakers wired horse that was stood a rocking in the centre hanging in the space . When the horse was touched the surrounding Braddock keeps seducing me back for artist gatherings where we come together we come together Braddock keeps seducing me back for artist gatherings where chats . over food and magical sunsets, exhibition openings and the intimate coffee I think I may never leave . Heathcote. speakers emanated speakers emanated of the human touch of the human touch exists in the hidden exists in the hidden When the horse was When the horse was Kooyagoordup/Point Kooyagoordup/Point the immediate sound the immediate sound as a reminder that life that life as a reminder crevices of memory and of memory and crevices touched the surrounding touched the surrounding TILT retrospective 2018 I saw Tilt as an opportunity to reflection on tilt draw my practice into dialogue 18 with the specifics of a local site, considering Heathcote’s contemporary function as a museum and gallery and how we might access its historical relationship to representations of women and mental health . The exhibition that resulted, Spill: The Insistent Body, became a first opportunity to tease out some of the ideas in 2009 SPILL: THE INSISTENT BODY INSISTENT THE SPILL: 2009 my practice that were already YARDLEY CAITLIN concerned with the subjugation of women, the abstract documentation of hysteria and the visibility of women in art history .

Drawing on archives and objects held at Heathcote, the Mental Health Museum of WA and the Royal Perth Hospital Museum, my research was concerned with how museums might use display strategies to arrange and construct our distance from and experience of history . I used the exhibition as a space through which to collide my ongoing investigation into process painting and the depiction of women throughout western art history with the specifics of Heathcote – a site re-purposed 2009 SPILL: THE INSISTENT BODY for art, but very much insistent on its past via its Caitlin Yardley: Residue – oil in pipettes with glass bottles architectural arrangement . Curator: Soula Veyradier

To reflect on and open out this I used the exhibition as a space through past, visual strategies were which to collide my ongoing investigation into drawn into the work concerned process painting and the depiction of women with ideas of containment, throughout western art history with the control and cleaning up what specifics of Heathcote might otherwise be considered as messy and/or too complex . TILT retrospective 2018 reflection on tilt 20 heavy doorsandfittingsthatstillpopulatethegalleryspace. restraint, hinted atthrough theremaining cell-likerooms and – followedbytheapplicationanddispensingofmedical of disruptivewhistling,singingandthebreaking ofchina the ward .Thebehavioursthatwarrantedrecording consisted documenting actionsandconsequencesofunrulybehaviourin Heathcote HospitalNightLedgerfrom 1929,opentoapage Installed alongsideworksinthefirstgalleryspacewas in theirownright. now beandhowtheymightcommunicatephysicallyasbodies and correct, provided awayofconfronting what theymight former women’s mentalhealthinstitution,designedtocontain (re)produce andinstallthesepaintingswithinthespacesofa misanthropic seriesofWoman paintings.Theopportunityto validated through deKooning’s abstractexpressionist Willem origins, formattingitsphysicalitywithinastructure already international arthistoricalreferences foritsscaleand The paintingIwasproducing atthetimelookedto spilled, stainedandoverflowed. and pouring–usingitinanincontinentfluidstatethatoften This spokeverycloselytothewayIwasworkingwithoilpaint

2009 SPILL: THE INSISTENT BODY Caitlin Yardley: Cell Theory: Culture Dish III – oil in borosilicate glass petri dish Curator: Soula Veyradier sculptural installationsandarchival and history itsrelationship tothewaywenavigate ourcontemporaryexperience . play withinlocalcommunity, bringinganexpandedviewofhowwemightexperience place , andtheirsupportfrom localcouncil, underline theroleOpportunities likeTilt thatartcan sometimes difficult andchallengingwayinwhichtheyoftendirect ourgazeonthecomplex, valuablydemonstratestheneedtoplacetrustinartists andgenerously welcometheTilt contemporary attitudesandpolicy, providing newperspectives. and welcomeartiststoaccessminetheirhistoriesinanattemptreconcile themwith It isincreasingly importantandnecessarythatgovernmentinstitutionalbodiesinvite was anattempttoaccessexisting–ifhiddenanddispersednarratives. Assembling abodyofpaintings,sculpturalinstallationsandarchival objectswithinthisspace hidden anddispersed–narratives. 2009 SPILL: THE INSISTENT BODY Assembling abodyofpaintings, objects withinthisspacewasan

attempt toaccessexisting–if Caitlin Yardley: The Insistent Body - oil on paper towel, borosilicate, glass bell jars Curator: Soula Veyradier curiosity builtonshared legacyandgeography of theirideasanexistinginvestment and local artiststhatnaturallybringtothegeneration particularlybenefitsfrom theinvolvementofTilt As anongoingseriesofsiteresponsive projects, contemporary identity histories thatunderpinhowweinhabitour hidden, ignored orunfamiliarnarrativesand

.

. TILT retrospective 2018 2010ABSENCE OF OCCUPATION IS NOT REST reflection on tilt 23

2010 ABSENCE OF OCCUPATION IS NOT REST

Paul Caporn: This Is Not An Empty Room – vinyl text PAULCAPORN Curator: Soula Veyradier

My approach was to explore the relationships between the history of the site as a mental institution and its current use as a museum and art gallery . This idea was an extension of a previous exhibition held at the Fremantle Arts Centre in 2000 in which I collaborated with Dr Matt Trinca (now Director of the National Museum, Canberra) . For this exhibition I worked with Dr Kate Gregory, historian from the National Trust .

The collaboration between myself and Dr Gregory enabled archival voices to be unearthed for inspiration . By mining the archive and drawing out elements of the history of the site through the installation, the project was grounded in a relationship between the present and the past . The works within the exhibition interpreted aspects of the history of the site bringing new readings of the past to Heathcote Museum and Gallery .

I did this by using materials common to the museum The works within context for the presentation the exhibition interpreted of objects and artworks such aspects of the history of the as acrylic, stainless steel cable site bringing new readings and other installation devices; of the past to Heathcote creating them into and making Museum and Gallery. them part of the artworks themselves . The fabric of the building was also used as an integral part of the site specific installations . For example a portal window from an adjacent room to a patient cell was used to project video into the room creating a round projection onto the wall of the cell . The imagery of this projection came from the area at the river’s edge

. of the ghost shed creating a barrier like a display cabinet that you might you might a barrier like a display cabinet that creating of the ghost shed lit shed and the object were . The inside of the find in a history museum in this work was of neon tubes . The tin shed I used with the strange light many hours him spending and as a child I remember my Grandfather’s, tin walls . things within its creating

TILT

retrospective and I in a site like Heathcote this exhibition program to have great It’s their own to explore . It enables artists into the future hope it will continue has a rich history of a museum and gallery that work within the context Tiltwithin a beautiful location . Every artist undertaking a show in the to understanding a new perspective and approach has brought program the history of the site; which in turn builds upon our and interpreting community for the broader sense of place; not just for artists but Curator: Soula Veyradier Veyradier Soula Curator:

2018 Collection Heathcote from objects shed, tin galvanised acrylic, – Shed Invisible The Caporn: Paul reflection on tilt REST NOT IS OCCUPATION OF ABSENCE 2010 25

I drew influences and influences and The Log . I drew work became an expression of this idea. of this idea. work became an expression During the time that Heathcote was a a During the time that Heathcote was mental health institution, a magazine by the patients and staff was produced called, the its pages to create information from installations in the exhibition different and spent many hours flicking through its pages, being amused by the different articles and stories . Absence of The title of the show, an Occupation is Not Rest, came from article in the magazine discussing the Objects from Heathcote Museum where displayed on displayed on Heathcote Museum where . Objects from

flows like water or the lapping of waves on a shoreline; this this the lapping of waves on a shoreline; flows like water or Within my research I found that often the ups and downs of that often the ups and downs of I found Within my research a patients mental state were described in terms of ebbs and and described in terms of ebbs state were a patients mental changing ideas about mental health, from when Heathcote was opened . from changing ideas about mental health, development of these ideas can be seen in movements such as A current Shed . the Men’s of itself A common two by four tin shed which intersected another replica of the exhibition space . room acrylic occupied the main large made from The acrylic shed sat like a partly visible ghost leaving the body of the the door of the ghost shed and into could walk through solid shed . You two walls of the ghost shed intersecting the the tin shed which revealed inside of the other shelves and against the walls of the tin shed with the intersecting walls

looking towards the city and below the cliffs of the Heathcote buildings . of the Heathcote the cliffs the city and below looking towards A camera was placed in the water and was moved about by the waves waves about by the water and was moved was placed in the A camera . Within the rocks bumped up against and tumbling around occasionally mental and downs of a patients that often the ups I found my research or the lapping in terms of ebbs and flows like water described state were idea . of this this work became an expression of waves on a shoreline;

Curator: Soula Veyradier Veyradier Soula Curator:

Paul Caporn: Reading Room – installation view installation – Room Reading Caporn: Paul 2010 ABSENCE OF OCCUPATION IS NOT REST REST NOT IS OCCUPATION OF ABSENCE 2010 TILT retrospective 2018 The Tilt program was an opportunity to reflect upon and For Capital City, the exhibition resulting from the Tilt program at the City of Melville’s reflection on tilt redefine historical data drawing on diverse arts practices . I was Heathcote Museum and Gallery I developed a series of possibilities from existing stories and 26 invited to respond to the Kooyagoordup / Point Heathcote objects, building fictionalized narratives so that we were able to consider what was, what may site and its multilayered history, using the historical research have been, and what may still become . The narratives challenge existing historical evidence and museum collections belonging to the Heathcote Museum and mythology surrounding the site, leading to new opportunities in our perception of the and Gallery and the Mental Health Museum of Western past . Australia . Much of my work considers the way information is constructed, processed and subsequently disseminated within A multidisciplinary approach I had developed a series of possibilities from our society . The practice reflects on the relationship we have including film, installation, existing stories and objects, building fictionalized with our psyche and with that of others by making visible sound and found objects narratives so that we were able to consider what was, the small details that impact on individual identities as much extended to a hybridization what may have been, and what may still become. as collective concerns; by telling stories about the complex of the chronicles-accounts- yarns-anecdotes and possibly 2011 CAPITAL CITY CAPITAL 2011

TOM MÙLLER TOM relations between the local and the global . even legends about the place . I was not interested in notions of historical accuracy, but rather 2011 CAPITAL CITY in describing other possibilities, and potentially new truths . Tom Mùller: Silent Capitulation - digital still Collection of the Art Gallery of Western Australia Curator: Soula Veyradier In Capital City the artworks lived side by side with the contents of historical archives, documents and artifacts . The project was as much an individual journey for me as an artist as it was a collective passage through narrative, sound, performance and intervention between collaborators Tom Mùller, Dr Andrew Botfield and Horst Kornberger .

The poetry of ideas blended and animated by Kornberger through lyrical intervention during the exhibition, soundscapes of grim theatre created by Botfield together with the visual language of Mùller take the viewer through the variable processes of the psyche, individual as much as collective . The physical and mental landscapes of the former mental health reception home and hospital ward become even more apparent In Capital City the artworks as the scenarios created are played out within the lived side by side with the walls of the exhibition spaces . We an look at the contents of historical archives, exhibition but the exhibition has an uncanny way of documents and artifacts. looking back at us .

As the connector, conduit, conjurer between different realms I took part in making the museum space a place of multiple identities and of transformation . Heathcote became a multidisciplinary laboratory and production site . A space in flux . TILT of encounterandexchange,consequentlynewsocialspaces. and engagementtheexhibitionwasabletocreate newforms museum methodologies,usingalternativemodesofdisplay creating new, lesspredictable situations.Bydislocatingtraditional Capital Cityengagedincontemporaryapproaches thatwere retrospective 2018 exhibition wasabletocreate display andengagementthe exchange, andconsequently reflection on tilt new formsofencounterand using alternativemodesof By dislocatingtraditional 28 museum methodologies, new socialspaces. myriad ofaspectsconnectedtoHeathcote. a broad bodyofworktouchingupona me withsubstantialmaterialtoproduce institution anditsformerusesprovided This extensiveresearch derivedfrom the where thevariousworkswere exhibited. site, andalarge andvariedenvironment audiences whohadengagedwiththe conversations andresearch withpast in-residence program supplementedby informed byboth,anexcellentartist- excellent opportunitytocreate aresponse The contextprovided mewithanTilt

Curator: Soula Veyradier Soula Curator:

digital still digital

Tom Mùller: Swan Scalp Study – – Study Scalp Swan Mùller: Tom 2011 CAPITAL CITY CITY CAPITAL 2011 TILT retrospective EVAFERNANDEZ 2018 TREATMENT: photographic series reflection on tilt The large-scale photographic images presented the medical instruments 31 being used on a subject . The subject is without an identity, more of an object

I set out to create work based on which the implements are being demonstrated . My images attempt to around the literature and the objects present this objectification at the same time presenting real looking larger of the time, as I consider the impact than life human anatomical parts like salivating tongues and moist red Heathcote Reception Home on an already delicate mind. throats, presenting images which on closer observation, present disturbing was established in 1929 as underlying context making the viewer uncomfortable but intrigued .

2012DAYS 182 a place of treatment and convalescence, representing progressive attitudes in the management of mental illness . This site presented a country atmosphere, providing patients a refuge far from the busy city . Heathcote focused on patient discharge rather than an asylum for long term residence . 182 days was the maximum stay a patient was permitted, after which time they were either released or certified insane and sent to Claremont Hospital with a very bleak future .

The work in this exhibition is a response to early treatments and therapies . Despite the fact that these were considered new age at the time, as they are observed today, it becomes difficult to reconcile the isolation rooms, straitjackets, sharp stainless steel implements, electro-shock therapy and chemically induced coma .

The Heathcote Museum holds instruments in neat display cabinets, appearing more like tools of torture than therapy . Long probing stainless steel pliers, sharp ended tongue forceps and mouth gags imprinted with the names of those who invented them . I set out to create work based around the literature and the objects of the time, as I consider the impact on an already delicate mind . The works that I created for the exhibition were a series of photographic images,

videos and installation work . 2012 182 DAYS view installation Fernandez: Eva Cullity Olimpia Curator:

program gave me Tilt gave me program The engage the opportunity to this significant and research its rich history site to explore Western and significance to Indigenous Australia, both in . cultures and non-Indigenous As experimentation was both supported and encouraged, opened up a the residency which new site and space from new materials, to explore techniques and experiment as well as continue with previous concepts and techniques used in my practice . During my time at Heathcote, both video and I created installation works which I’d not worked extensively previously with, opening up new areas in my practice in which I have continued to work . I feel the Tilt has program a very important place in both encouraging industry, experimentation and research a gallery space while offering to enhance and develop an and practice . profile artist’s As experimentation was both supported and and both supported was As experimentation

concepts and techniques used in my practice. and techniques used concepts and experiment as well as continue with previous continue with previous as well as and experiment

encouraged, the residency opened up a new site and site and up a new opened the residency encouraged, space from which to explore new materials, techniques techniques new materials, to explore which space from .

.

TILT

retrospective has shown that this type of . Research 2018 reflection on tilt

33 : 182 DAYS 2012, video, 33 minutes 30 seconds . in an isolation room This work was projected of goose A subject at a table separates a pile in difference feathers, categorised by the subtle the tone . This obsessive behaviour references the feathers subtlety between sane and insane by in colour subtle differences or ‘single Solitary confinement in isolation rooms, of mental hospitals . feature was a standard rooms’, Seclusion was a common way of managing emotionally patients, isolating them physically, and change their to control and mentally in order behaviour solitary confinement exacerbated illness in those mental infirmity from suffering already This video work, displays an obsessive behaviour the confines of such from as a form of release a space . Often patients or prisoners in solitary confinement would manifest obsessive behaviours as a way of escaping their physical confinement . .

: installation NARCOSIS a bed with presented Narcosis loose goose pile of a large on it . A feather down feathers seen to bed, traditionally warmth comfort and represent is now and excessive indulgence which is as an object presented and completely dysfunctional . problematic and insulin coma Narcosis coma induced long treatment . This like periods of sleep a once installation represents safe and comforting object which has been transformed into a fearful and all immersing entrapment . The peacefulness of sleep is turned into a nightmare of inescapable state of sedation, the soft downy feather an all-encompassing presenting bed that engulfs its prey

Curator: Olimpia Cullity Olimpia Curator:

Triptych– archival inkjet print inkjet archival Triptych– . 3 Reception . 2 Reception . 1 Reception Fernandez: Eva 2012 182 DAYS DAYS 182 2012

It . It

PAINTING THE CLOUDS THE CLOUDS PAINTING was developed as a response to a newspaper article in the Mail on June 16, 1932 . Western only in A young man dressed his shirt and underpants had climbed to the top of the 400ft mast and was singing wireless a popular song at the time, ‘I’m painting the clouds with sunshine .’ When all attempts to failed, descend to him persuade the authorities switched off lights . He immediately climbed down, and was admitted to Heathcote Hospital . This video work was a long, This video work was a long, slow moving image of clouds which gradually move from a sunny brightly lit day to a gloomy sky stormy, grey WITH SUNSHINE: 2012, video, 33 minutes 2012 182 DAYS 182 DAYS 2012 Eva Fernandez: Straitjacket – archival inkjet print Cullity Olimpia Curator: TILT retrospective 2018 My approach was, at the time, to unfold . Our collaboration reflection on tilt a little different from previous worked creatively on many 34 Tilt artists in that I took as my levels, resulting in new work starting point the idea that the for both of us as well as the history of the site is held as video work The Lower Lands much in the living ecology of in which Jennifer’s poetry the place as it is in buildings, interlaced the footage I filmed documents and objects . underwater at the Point . I asked “How do places hold The river seemed the logical stories within their ground?” place from which to start,

I approached the environment and the oldest topographical LANDS LOWER THE 2013 HOLLY STORY STORY HOLLY of the site as mnemonic device . feature at the site *. The project was an opportunity to make the ‘invisible The element of time visible’, working within the became a crucial factor in intersection of histories as our understanding of Point they configured a changing Heathcote . It became apparent yet particular sense of place . that there are a number of different times which interweave at the Point giving it an enigmatic and slightly transparent quality .

how do places “… the river’s endless passing; the Banksias’ steady hold stories within persistence; its current use as a beautiful site to their ground? spend time where people once came to recover time; the traces of the deep time of the original People’s cyclical passage; its early recognition I invited the poet Jennifer as safe harbour in colonial exploration; and the Kornberger to collaborate sometime occurrence of four different times on the with me, we had both shared clock tower’s four faces ”. many conversations around ~ Jennifer Kornberger, The Lower Lands the influence of country on Point Heathcote is the product of human and non- creative life . We are both human agency, it has had many different voices very visual people, in general shaping it . her vision coalesces around words, mine around objects . We spent the year from late 2013 THE LOWER LANDS 2013 THE LOWER LANDS Holly Story: Old Bones – Balga resin on rag paper, plant ink cm 205 cm x 114 Bushby Claire Curator: summer until exhibition time in November making weekly *I acknowledge the inspiration of Tom Mùller’s video work of a figure emerging from and re-immersing in the river at site visits, allowing a narrative the Point shown in a previous Tilt exhibition. TILT program . application totheTilt bushland .Thesefactorstriggered my still continuesatthecostofclearing history ofPerthanditsgrowth which Point alsoconnectsustothegreater archives .Theremnant vegetation atthe its persistentpresence intheHeathcote but nevercleared .Ibecamefascinatedby weed invaded,overburntanddegraded, The rocky slopeto theRiverremains, being namedtheFirewood Banksia. for firewood –resulting inB.Menzies it wassooncleared andthewoodsold foreshore uptotheApplecross Jetty, Accessed byalittlerailwayalongthe (of Banksia)asfartheeyecouldsee. an earlysettlerasadarkgreen forest south bankhinterlandwasdescribedby remnant of‘original’ bush.TheRiver’s the rivercouldthusbesaidtoatiny The slopebelowthePointleadingto horses butnotbuiltuponordividedup. was usedforgrazingcattleandholding was built.From colonialsettlementit undisturbed untiltheReceptionCentre history iscurious.Itremained largely The storyofPointHeathcoteinMelville’s retrospective 2018 reflection on tilt 36 ‘speak forthemselves’ if givenareceptive ear tolisten

places can

highly charged space.Asaregular visitor The HeathcoteMuseumandGalleryisa multimedia approach . in amanylayered, collaborativelyvoiced story oftheplacethatisPointHeathcote ‘object andnon-objecthistory’totellthe brief,movingbetweenresponse totheTilt ‘listening’ whichinformedmyimaginative if givenareceptive eartolisten.Itisthis that placescan‘speakforthemselves’ I havedevelopedinmypracticeanidea West Australianartfield. recognition ofitsimportantplaceinthe is amarkofrespect forinvitedartistsand fee totheinkindsupportalready offered and grow, addingstudiospaceandartist continuetoflourishexciting toseeTilt the worldwithouteachother of place.Thetwocouldnotcomeinto enliven anddeepenone’s understanding resulting indiverseexhibitionsthatreally rigorous yetmulti-facetedresearch, are evidencethatboundariesencourage approaches tothebriefoverlifeofTilt as tohowthatevolves.Ahugerangeof but remaining very broad andflexible regular basis toaspecificsiteinvestigation is uniqueinPerthdirecting artistsona situation inatargeted way artists toengagewiththeplaceandits way andexpandeditwiththebrieffor program tookup that challengeinaformal on thefootprintsofitshistory with itsrooms andhallwayswithaneye that tookintoaccountandengaged I wasmostinterested intheexhibitions .Ibelieveit .Itisvery .TheTilt

Curator: Claire wood Bushby and cardboard thread, cotton blanket, wool hessian, leaves, –Banksia Landscape Familiar Story: Holly 2013 THELOWERLANDS research, resulting indiverse A hugerangeofapproaches rigorous yetmulti-faceted enliven anddeepenone’s to thebriefoverlife of understanding ofplace. boundaries encourage exhibitions thatreally are evidencethatTilt TILT MERRICKBELYEA retrospective 2018 Growing up in suburban Perth in the 1970s was, reflection on tilt to my mind, an in-between landscape . By this I 39 mean before the excesses of the 1980s financial boom which enlivened, challenged and irrevocably changed the skyline, the pace and the equity of Perth – in 1983 we had just won the America’s Cup . 2014 THE MAJESTIC Merrick Belyea: digital still 2014THE MAJESTIC But, not quite twenty earlier the city was still an Curator: Jana Braddock adolescent – awkward, unsure and faintly brutalised .

We were still sending people off to die in foreign So, when asked to contribute to Tilt, I found myself writing this: wars, we were still subject to corrupt cops and bent politicians – and, in 1964, we had just committed I am an interloper. I am moving silently through the streets. I am floating above our last act of capital punishment . As a kid riding houses. I am a covert operative collecting information. Capturing a streetscape his Malvern Star around the suburbs I did not realise living in the shadows of an asylum. A sleepy hollow. After midnight a series of at the time how much impact this dirty laundry was random events occur in the suburb. having on my psyche . A parked car moves without a driver, an apartment light goes on I am a covert operative collecting and then out again, a sleepout in a information. Capturing a streetscape boarding house has a visitor, a front living in the shadows of an asylum. door bell rings at 4am. The camera, a headless horseman, rides slowly through town gathering the surreal, the unseen, the resident.

A babysitter, a beautician, a social worker.

Imagining myself as a night walker. A compulsive gatherer of information but with no agenda. A momentary visitor. An anxious observer. The compulsion is not malicious, merely driven, constant. I view other interlopers with suspicion. Criminals whose activities are at cross purposes to my own. Malingerers. Vagrants.

A grocer, a student, a passenger.

This problematical information gathering is faintly dangerous in a society alerted to the alarm of dissident reactionaries. Concern over access to this information leads to the risk of being dictated to by the voyeur. More wall is built, gates are bolted, dogs are barking. The status quo can only be maintained if we match 2014 THE MAJESTIC the speed of information transfer. In a lightning quick digital world, this Merrick Belyea: digital still Curator: Jana Braddock industriousness is breathtaking.

bear this as truth. To give an artist freedom give an artist freedom To them to offer up their best up their best them to offer and such high quality in the and such high quality in the artwork produced for Tiltartwork produced to and I have seen a consistency and I have seen a consistency to pursue ideas is to challenge to pursue ideas is to challenge program to the Tilt to contribute I was approached program that I was questioning the very in 2014 during a time as a career to an artist’s approach act of a traditional gallery based one . This was during a time that Perth and changes many gallery closures from was reeling seriously to institutional arts funding that was these opportunities . I was heavily involved affecting

for their own collection Tilt for their own collection I chose to focus on the anxiety of suburban life and the attitudes stories attitudes stories the anxiety of suburban life and the I chose to focus on than a homage to the streets a critique me . It was no more it draws from no way innocent but in in slightly more through riding a bike I remember . less nervous times formats for exhibiting artists – in in discussions about new forums and an wall . Tilt down the gallery as well as studio breaking offered effect, to give an artist freedom this . To opportunity to test a few ideas around up their best and I have seen offer pursue ideas is to challenge them to for Tilt in the artwork produced a consistency and such high quality to financial and practical bear this as truth . That the City of Melville offers support (and for a decade now) should be celebrated . That they works commit to purchasing from should also be celebrated . That Tilt should last for another ten years should be encouraged the community as an across from essential, challenging and much- loved event .

TILT An elderly couple down near the river. retrospective

2018 find a rifle in the bushes reflection on tilt 41 Nonetheless the surveillance continues unabated. The journalist journalist continues unabated. The Nonetheless the surveillance de-focused. are and the lines of control becomes the perpetrator the river. find a rifle in the bushes down near An elderly couple 2014 THE MAJESTIC 2014 THE MAJESTIC Merrick Belyea: digital still Braddock Jana Curator: TILT retrospective 2018 reflection on tilt 42

2015 HOON Andy Quilty: Untitled, XR Ford Falcon Ute burnout, electric polisher, electric drill, graphite, aluminium composite panel Curator: Jana Braddock

When first approaching Tilt I made myself familiar with the exhibition archive to avoid covering ground already investigated by previous artists . 2015 HOON2015 ANDY QUILTY QUILTY ANDY This initial research was somewhat intimidating given the strength and breadth of the work produced by these artists whom I very much look up to .

With this in mind I hoped to find a new perspective, also driven by the acknowledgment that much of the history and stories related to the Heathcote site are not mine to tell – not to discount these stories, but simply to recognise my place in relation to that history .

much of the history and stories This led me to an related to the Heathcote site are not article in the City of mine to tell – not to discount these Melville newspaper stories, but simply to recognise my archives, detailing place in relation to that history. residents’ complaints regarding ‘hooning’ and celebratory loitering occurring at the vacant site of the demolished Majestic Hotel . Located amongst the affluent mansions of Point Dundas, this disturbance to quality of life and residents’ sense of security was considered an affront to the community’s wellbeing . TILT cries forahoonnation. bumper stickers,butcatch or fuckoff’becomenotjust ‘love itorleave’and‘fitin in whichabsurd notionsof engenders anenvironment original occupants,butalso disregards itsimpactuponthe the ‘hoon’psychenotonly myth ofterritorialentitlement, revelry) and forging theAnglo Heathcote isapopularsitefor day (adateonwhich celebrations suchasAustralia of whitesettlementthrough In eulogisingthememory in whichtheactiscommitted. landscape oftheenvironment the physicalandpsychological areas occupants, alteringboth aggressive disregard tothe marking ofterritorymadewith the actofburnout–a and thatofthe‘hoon’than the AngloAustralianmind-set allegorical kinshipbetween personification ofthe experience .Whatbetter the post-colonialAustralian European settlementand hooning inthecontextof Consider thenthenotionof retrospective 2018 reflection on tilt 44

environment inwhichabsurd notionsof disregards itsimpactupontheoriginal ‘love itorleave’and‘fitin orfuckoff’ become notjustbumperstickers, but occupants, butalsoengendersan catch criesforahoonnation the ‘hoon’psychenotonly

site –should be commendedandhopefully continuedforalongtime . the CityofMelville’s –allowingartistsautonomy inresponding to theHeathcote supportofTilt spaces withintheCBDand aFederalGovernmentslashingsupportfortheArts .Bycomparison playinganincreasingly vitalroleI seeTilt intheWA artscalendar, giventhedecline ofgallery

Curator: Jana Braddock Jana Curator:

Andy Quilty: installation views installation Quilty: Andy 2015 HOON HOON 2015 WA artists,encouragingartiststotake risksandexplore newideas. alsoprovides agreatTilt platformtosupportemerging, midcareer andestablished opens upthepossibilityofvisitorstogallerythat maynototherwisevisitartspaces. for localsandtouriststosightsee,picnicrunthe kidsraggedintheplayground – of localsites,allowsasimilarlydiverse audience toengagewiththehistory, Inviting diverseartisticexplorations geography andculturalmilieuof the placesweinhabit Western Australians .Invitingdiverseartistic valuable tothesocialandculturallifeof are incrediblyInitiatives suchasTilt simply preach tothechoir admittedly beeninthepast)ratherthan combative parochial audience(asIhave engage aperhapslessenlightenedand in thework.Itwasimportantthat the suburbanaudiencebeinginterrogated and servingasanidentifierwayinfor as anacknowledgmentofculpability, in collaborationwithsuburbanmatesacting experience –makingtheburnoutworks sought todeconstructthispost-colonial I , and senseofplace.Inapproaching Tilt ‘hoon’ mentalitywasintrinsictomyidentity predominantly Anglodescendants,this Growing upinanarea madeup of

day existenceasasite Heathcote’s current we inhabit. milieu oftheplaces geography andcultural engage withthehistory, diverse audienceto sites, allowsasimilarly explorations oflocal .

TILT retrospective 2018 reflection on tilt 47 JONTARRY 2016RESTRAINT

It is a measured place, this remnant mass of land edged river scape . A site of former history revealed in rooms, in corridors of many, in regular spaces caught in glancing light filled flashes of rumours . Affective in the frame, the gaze released in taught reflection . Known and unknown, dropped in recoil from this passing state . As if an non now none, fragile, undone, tossing crumpling within .

In RESTRAINT, observation zones where the ground opens parting fragmenting as illusions of a ceiling is all mirrored, it is as if it is above and so it is below . You see yourself, seeing yourself, seeing, the room inversion, stable floor falls away uncertain like walking on a frozen river . In a room void an art piece sits square, its warm noble gas light glowing . Rising lantern to a

2016 RESTRAINT 2016 RESTRAINT Jon Tarry: - installation view Braddock Jana Curator: falling light, breathing in and out in four forth for thought .

Walls constructed inside out, end elevation, side elevation, plan, window frames aperture to world in proximity . Doors you go through, painted over glass elide lost obscura . Reframe reference, defenceless texture . Prominent foreground, mid ground field of view, speaks of unspoken, moments passing .

2016 RESTRAINT 2016 RESTRAINT Jon Tarry: Ceiling – installation Braddock Jana Curator: Dialogic of this space while framing proceed discarding wave convergence .

.

of place, site-based art of place, site-based art is of critical significance In seeking understanding In seeking understanding

This body of work continues in a line of enquiry for me, continues in a line of enquiry for me, This body of work Perth with the Perth Entertainment in to work on projects , Malta with Riet Eeckhout, Gate demolition, Valletta Centre demolition and currently Renzo Piano Project, Architecture Newspaper Headquarters London . The artist of the Guardian titled, Lines (RMIT) 2012 completed a PhD in Architecture . Currently of Resistance, explorations of Geopolitical Space the Unspoken . working on a book in Switzerland titled

TILT retrospective of experience a place of many a place of many 2018 Delving into the reflection on tilt narratives, a place Delving into the historical layers of this site reveals multiplicity, a place of many narratives, a place of many narratives, multiplicity, this site reveals Delving into the historical layers of at the site offering converge . Elemental forces a place of abstraction, a place of experience art practice engages with the . Investigating a history of site through and projection reflection other histories, account of place and time . Art is a significant means of accounting official the story that needs review the lived, the emotional, the absence and present, the everyday, one to engage known and unknown . Art prompts Art communicates the unspoken, the through the work into a state of enlivenment, revealing actively with the art work, bringing physical . types of participation, temporal and be involved not passive consumers of art, people have choice to As a community we are thoughts than being a spectator to someone else’s . Being in a gallery is more in the process among the works people complete the or insights, although this is valid . By being there, things in their minds, able to rework are reciprocation, and integrate . In the way to change, interrogate to remix, not still absolute formed to articulate they are memories are able to be modified, never fixed always changing . truths, are In seeking understanding of place, site-based art is of critical people understanding of place, history, significance . Through gaining insight into site, we begin to learn through through of becoming . Tilt in this process , is a vital what binds us as a community and who we are intelligence . forum for nurturing ethical understanding though multiple modes of spatial of abstraction, a place of abstraction, a place 49 this historical layers of site reveals multiplicity, multiplicity, site reveals

Refined light pieces, . Refined light pieces,

2016 RESTRAINT 2016 RESTRAINT Jon Tarry: Still – opening night performance Braddock Jana Curator: pre existing assumption . pre Responding to Heathcote through a series of a series of Responding to Heathcote through into the experiential art constructions that delve setting of the ‘space between’, ideas of landscape and formal peninsula overlooking the Swan River a site up as make that buildings augmentation of the former mental health facility sound works, combine with sculptural low frequency a creating constructions in timber and canvas and emotive . which is considered response, RESTRAINT, was a development of work where manifest site is integral to generative ideas that to history of as material and elemental responses changing conditions . Entropic places and there of levels of consciousness and their breakdown thought operates of creative subsequent renewal create . To and restraint of resistance within forces a pushback on new types of knowledge requires superseded superseded acknowledge acknowledge in the senses, in the senses, parallel room. instruments in a instruments in a sight along with sight along with sound works for sound works for on display in the on display in the The collection of The collection of

the opening night, the opening night, art works engaged art works engaged treatment methods methods treatment museums of medical museums of medical The collection of art works works The collection of art sight engaged in the senses, works for the along with sound opening night, acknowledge methods superseded treatment on display in the museums in a of medical instruments . parallel room Conditions of sight locked of sight locked Conditions wedge of doorstop at a lock in words, corners . Lost for warding wards, inwards, words, . till it wakes off, . Walking off TILT 2017 GOOLUGADUP – KAL-YA-GUL – ‘PLACE OF CHILDREN – ALWAYS; EVER; CONTINUALLY .’ Sandra Hill: My Mother’s Bookah – skin cloak, cotton muslin, MarriBalga and Acacia resins, silk, paper clay, date palm fronds, wood retrospective Curator: Jana Braddock 2018 reflection on tilt 50

“My initial approach to Tilt was Goolugadup – place to research the rich Indigenous of children – is a heritage of the site and get a significant site where feeling for the history and the Wadjuk Noongar cultural activities on and around families would camp, the site prior to colonisation . I fish, tell stories, sing, endeavoured to develop and create teach their Coolungas a series of visual images using a (children) at play variety of media that reflect first and enjoy ceremony . contact with the white man and the Well-worn biddi’s changes that followed . Not only for (paths) show the way the physicality of the site but also to the natural springs the immediate and far reaching that feed through ‘social’ impact that this encounter the base of the hill manifested on to my people .“ on which Heathcote now occupies . These Those who put their mark upon it springs supplied fresh last, more often than not, interpret water to families, the history of a place . revealing themselves in places simply by Goolugadup – Kal-ya-gul responds scratching at the to the site in a way that is inclusive surface of the beach, of Noongar people and their sense

and waiting for the of belonging to Goolugadup (the water to pool . A lower lands at Point Heathcote) . lookout where the This exhibition acknowledges that buildings now stand, by looking back we are able to give an unbroken view celebrate Noongar culture in a place from east to west, so changed over time . The work securing home from a incorporates the use of resins and wide vantage point . artefact once abundant at the site and tells the story of the lives lived Those who put their within and around the landscape mark upon it last, more now known by many as Heathcote . often than not, interpret ‘PLACE OF CHILDREN – ALWAYS; EVER; CONTINUALLY.’ EVER; ALWAYS; – CHILDREN OF ‘PLACE 2017 GOOLUGADUP – KAL-YA-GUL KAL-YA-GUL – GOOLUGADUP 2017 SANDRA HILL HILL SANDRA the history of a place. TILT during thewholeofcreative process .Prideandtrauma,awkwardly buildingfrom its The workinvitestheaudiencetoshare withrespect, thebeautyanddeepsadness inseparable pieced socarefully together a jigsawpuzzle,thatwhenassembledleaveyoumourning overthelossofstoryyou’ve become piecesof or otherwise, Research, traditional toward theheart. the sametimeslicing – triumphantwhileat double-edged sword making theworka left toremember, about thepeople about place.Itisalso exhibition isnotonly in ourart.Butthis oral traditionsand graciously inour their memorylives ya-gul suggestsand Goolugadup –Kal- that theworkof These are theimages well asoyster;thescatteringsoftheirbroken shellslastinglifetimesafterthefeast. almost absentfrom theriverbed,attractingschoolsofmullet,astapleforfamiliesas fish trapsare beingtendedtobringinginseasonalnourishment.Seagrass,now Looking downbelow, justoutfrom theshoreline oftheDerbalYerrigan, traditional retrospective 2018 reflection on tilt 52

and fearofmygranddaughters astheirhandswentupundertheBalga the youngwomeninmyfamily Gathering theresins, traditionallywomen’s workbecameaquestfor the materialsandmediathat Ihavechosentocreate theseworkswith. Recognising thishasinfluenced,ataverydeepandpersonal level, conception totheinstallationofworksand,perhaps beyond. delight ontheir faceswhentheyfoundsome, spiderfree . tree ‘skirt’inorder tofeelfortheclusters ofresin, to thelookofsheer .Exhibitinginaspacewhere headandheartmustliveseparately Curator: Jana Braddock view -installation Hill: Sandra 2017 GOOLUGADUP–KAL-YA-GUL .From watchingtheinitialapprehension

.

papers, wire, woodandhemp,cottonlinenstring. muslin, linen,paperclay, oilandacrylicpaint,handmade of PointHeathcote.Othermaterialsthatwere usedare cotton around theshorelines ofMelvilleWaters andwithinthevicinity remnants were usedasmusselsandoysterswere onceprolific and thebee’s waxisrepresentative ofthis.Shellfish‘bead’ Native honeywasafavouritestaplefoodformypeople ceremonial purposes . continue tobeusedforbody/art‘decoration’aswell in theSwanandCanningRivers.Naturalochres were and source offoodfor theschoolsofMulletthatwere onceprolific the timeoffirstcontact.Theseagrassballswere aprimary site, theverysameZamia’s mayhavebeengrowing there at The ZamiaPalmseedpodswere harvestedfrom theHeathcote Jarrah tree has varioususes. making aswellformedicinalpurposesandthebarkof Balga, MarriandAcaciagumscontinuetobeusedfortool me feeltrulyblessed.Thematerialsspeakforthemselves;the now continuesonthrough mygranddaughters,whichmakes they are beingusedforadifferent purpose,it’s atraditionthat been ongoingforthousandsofyears.Though,inthiscase gathering naturalmaterialstomaketoolsandartefacts,has It hithomethattheculturaltraditionsofharvestingand and proud tobetheonetell andshare our storywithyou. up untilnowhasn’t beentold through art.Ifeelbothhonoured and thestorythatneeded to betoldaboutthisplace,which, They helpedmetofocuson theimportanceofthisresidency what theseworksneededto saybuttheyalsogrounded me. of ourtraditionalmaterials notonlyguidedmeinregard to allowed metoutilisethenatural ancestors haveusedforeons. and organic materialsthatmy Sandra Hill: Quinning – Zamia Palm (detail), Marri Balga and Acacia resins; cotton muslin; muslin; cotton resins; Acacia and Balga Marri (detail), Palm –Zamia Quinning Hill: Sandra Goolugadup –Kal-ya-gul shell fragments; linen and cotton thread; metal; wood; hemp string hemp wood; metal; thread; cotton and linen fragments; shell

2017 GOOLUGADUP–KAL-YA-GUL for eons.Theuse ancestors haveused materials thatmy natural andorganic me toutilisethe ya-gul allowed Goolugadup –Kal- Curator: Jana Braddock

call usallhome . and itwillcontinue to remains isOurCountry erased .Whatalways obscured butnot becomes somewhat underneath, overtime, is addedon.Whatlies before anotherlayer given ampletimetoset where onelayeris of historicalchange encaustic issymbolic The process inwax over somethingold. layering somethingnew nature ofchange – it alsoreflects onthe for over50,000years presence on thisland and theirongoing of theNoongarpeople Though thisisthestory

JANA WALLACE BRADDOCK CURATOR through theirchosenmedia. which theyexamineandexplore the historyofthissignificant site, art .Eachinturnhasshedlighton contemporary Western Australian make importantcontributionsto to havesignificantcareers andto these artistshashadandcontinues it isfarfrom hyperbole.Eachof When Iusetheword ‘privilege’ years tocuratethisretrospective . with theprogram overthelastten artists whohavebeeninvolved privilege ofworkingwithallthe into oneexhibition.Ihavehadthe significant bodyofpast responses resulted inthe taskofcollatingthis Retrospective has The 2018Tilt historical collection. with aheritagesiteandsignificant new audiences,whilstengaging range ofideasandpracticeto with anopportunitytobringa provides local artists of work.Tilt Heathcote bycreating anewbody the siteofKooyagoordup-Point has beeninvitedtorespond to first tenyears.Eachyearanartist Retrospective looksbackonits art practitioners,the2018Tilt local arthistoricalenquiryand Museum andGallerytosupport Originally developedbyHeathcote AFTERWORD become renowned . program has and enquiryforwhichtheTilt creates theperfectplatformforresearch intersect atHeathcote.Thisintersection and themindfulappreciation ofbeingthat about theinsignificanceofourtimehere 10,000 yearsbefore…” There issomething now, fiveminutesbefore me,fiveyearsbefore, Australian sky across thewaterunderwideopenWest the pointoverlookingcitywecallhome, very distinctive.Formanyitisstandingon its 1920s/30sinstitutionalarchitecture are Hospital althoughthebuiltenvironment and always owingtothehistoryofHeathcote and oftenforartistsintotheirwork.Itisnot people’s thoughts,intotheirexperiences, Kooyagoordup-Point Heathcoteseepsinto For artistsandvisitorsalike,thissite museum program calendars . its placeintheWestern Australianartand hasearned colonisation andfirstcontact,Tilt which delvedintothedifficultaspectsofpre- exhibitionGoolugadup-Kal-ya-gul, 2017 Tilt through tothe mostrecent, SandraHill’s in theairatKooyagoordup-Point Heathcote, loss andhiddenmemorythathangsheavy Cironis’ CoverUp , whichexplored the love, exhibition,Olga From theveryfirst2008Tilt that, tofindadifferent perspectiveto explore . history ofthislandandtilteditway program andeachofthemgraspedthe of workingwithintheparametersTilt The artistshavetakenontheresponsibility .“Whostoodhere where Ido

TILT retrospective 2018 reflection on tilt 54

2008 COVER UP Olga Cironis: - installation view Curator: Soula Veyradier