HOME OPEN Fremantle Artists and their Collections

HOME OPEN

Fremantle Artists and their Collections

27 November 2010–23 January 2011

Fremantle Arts Centre With collections from Twenty Eleven Trevor Richards Howard Therese Theo Koning Tanya Schultz Susanna &Castleden Honey Bevan Ruth & Trevor Vickers Richard Gunning of the MachinePoets Pippin Drysdale PhillipsPerdita Penny Bovell Paul Uhlmann Pam & Tony Jones Nien Schwarz Michele Sharpe & Jurek Wybraniec Megan Salmon Max Pam Gregson Jocelyn Jánis Nedéla Jane &Haynes Martin George Holly Story Hummerston Harry Gisela Züchner-Mogall Eveline Kotai & Giles Hohnen Christine Gosfield Brian McKay Seeman & JohnAnnette Teschendorff André Lipscombe Amanda McHenry Fremantle Arts Centre Centre Fremantle Arts City of FremantleCity Jim Cathcart Jim Cathcart Director Director

Foreword and conducting numerous research home this project by forming a sort of SWAT team They began the enormous task of curating came together with Chris as co-curators. former Fremantle Centre Arts staff member and Consuelo Cavaniglia, artist, curator and and member of Fremantle Centre’s Arts team Honey, respected, long-standing local artist of knowingness about local artists. Bevan Chris also had the relationships and the sense writer. Having lived in Fremantle for 30 years, known collector of Fremantle artists and arts and insight of the insider. Chris Hill is a well- The project needed the curatorial perspective as a community that embraces artists. creativity and the particular reality of Fremantle about home, family, architecture, the nature of accessible arrangements to ask questions art and artefacts jostle together in robust, Home Open universal themes are illuminated. through telling a specific localstory, larger characteristic of many good arts projects that with me over lunch 18 months ago. It has that Story that Fremantle artist, Holly Story, shared Collections Home Open: Fremantle Artists and their evolved from an initial idea of Colin is a generous exhibition where Arts Centre and have Arts either shown here, had standing, relationships active with Fremantle of the in30 artists Fremantle, is itself a player in this story. Most Centre, a Fremantle of part of theArts City the meaning and success of thiscraft beautiful publication that is integral to enormous amount of visual andmaterial text to Graphic designer Isabel Krüger has dealt with an exhibition and the local Fremantle story. Hill andastutely intimatelyreflects onthe the inproject a largerand context Chris commentary inarts his excellent essay places incorporating and history architectural visual Philip Goldswain’s multi-disciplinary approach, the story. on biographiesthe artists’ pages and add to self-portraits, using disposable cameras, appear door for the viewer. The participating artists’ at home.and Bo’s artefacts images open the andthe artists by theirportraying the story art and details are essential material that complete Photographer Bo Wong’s beautiful portraits realise inspired, cohesive unit and have worked hard to visits. Chris, andBevan Consuelo have been an Home Open . Home Open Home Open have long- . studio residencies, worked on projects or teach Chris Hill Home Open: Fremantle Artists and their or have taught in our Learning Program. For Co-Curator Collections allows us a glimpse into the more than 35 years Fremantle Arts Centre, homes of Fremantle artists. Artworks and along with The Moores Building and the other objects have been selected from thirty studios at Old Customs House, have been part collections, and each collection is displayed of the essential infrastructure that makes in its own space in Fremantle Arts Centre Fremantle a place where these artists thrive. galleries. We have worked together with the Thank you to the Project Team of Chris, artists to select which works to include, and Bevan, Consuelo and André Lipscombe, Isabel we have arranged the works in such a way that

Krüger, Kathryn Doust and Jasmin Stephens Open Home they reflect their owners’ home environment. (to July 2010) who, with me, have worked on Visitors will not only see some fine art and developing and steering this project. interesting objects, but they will also gain some insight into the personal worlds of the Thank you to the State Government for their artists who live amongst us in Fremantle. long standing, generous financial support Artists are important to us because of the of Fremantle Arts Centre thorough the objects they make, not what they acquire, but Department of Culture and the Arts. we can learn much about people from visiting The biggest thank you is for the participating their homes, and perhaps by looking at the Fremantle artists for being so generous in things that artists surround themselves with lending us their valuable art and artefacts, we can learn something new about them, and responding to constant requests for about the art they create for us. So from Home information and tedious paper work and Open we can learn about Fremantle artists and welcoming the curators into their homes. their work, but there is also much more that Home Open is a rare treat and if you don’t we can take away from this exhibition. connect with the project’s highest intentions, Many of the works in Home Open were made in you might, if nothing else, get some great Western Australia, and from some collections home decoration ideas. we have been able to make selections that present small slices of local art history. For also struck by the differences in how their Fascinating networks of relationships are example we included works from the early works were displayed. Pam and Tony Jones reflected in the works that many of the 1970's from Eveline Kotai and Giles Hohnen’s have so much art in their home that almost artists in Home Open have collected. We see collection, and then a selection of works by every square inch of wall is covered, with relationships between artists, for example, in Eveline Kotai spanning the years 1983 to recent acquisitions stacked on the floor. By Theo Koning’s selection of works by a group 2005 from Amanda McHenry’s collection. contrast Trevor Richards and his wife Mary of fellow artists he has been playing snooker Other examples from Western Australia are have a more minimal approach, reflected in with for many years. We have duplicated Pippin Drysdale’s Indigenous paintings from the selection here of a single work by Holly a wall from Annette Seeman and John Balgo, and artist Twenty Eleven’s collection Story hung above a classic 1950’s sideboard. Teschendorff’s home that displays small works of works inspired by street art. But there are Several artists have arranged work from collected over more than 25 years, each work also many works from further afield. We have their collections such that the arrangement by a friend or colleague. And Jane Martin and included Jánis Nedéla’s collection of erotic and itself can be seen as an artwork. An example George Haynes include a wonderful portrait by elegant Shunga woodblock prints that were is Therese Howard’s collection: a range of well known English artist Anthony Whishaw made in Japan over one hundred years ago, objects, from small contemporary sculptural who was George’s tutor when he was an art and Christine Gosfield’s collection ofex-votos works to antique oil paintings, exquisitely student in London in 1960. From these and and other religious icons she has collected on arranged around a fireplace in the main gallery. other collections in Home Open we can see regular visits to Mexico and Texas. that objects we collect, particularly artworks, We can learn something from the diversity can be important links to the past; they There is great diversity amongst the we see in these collections. We can learn that become a valuable part of our personal history. collections represented here, both in media, when it comes to buying art and displaying age and where they were made. There is also it in the home there are no rules we have As well as personal relationships, we can diversity in how the various artworks and to follow, that we can loosen up, follow our also see here relationships between what objects were acquired: some were received instincts and not be guided by trends or an artist collects and their own art practice. as gifts or swaps, some were purchased fashion. We can learn that it is possible to be Anyone who knows Jurek Wybraniec’s work from galleries or through the internet, some creative with how we arrange the things we will recognise a connection with the brightly were bought from op shops, and at least one choose to have around us, and that like many coloured Japanese Manga figures he collects; item was rescued from a street throwout. of the artists here we can find beauty in the and the magical environments created by On our visits to the artists’ homes we were commonplace and unexpected. Tanya Schultz are reflected in her collections of crocheted rugs and coloured glass vases. remarkably, the McKay’s house is now worth Commercial and public galleries provide Perdita Phillips presents three small paintings not three times but closer to fifteen times us with opportunities to see and collect the but also one of the more unusual collections average annual earnings. work that these Fremantle artists make, in Home Open, a stack of geological rock now Home Open provides us with an So the city is changing, but Home Open is specimens. These rocks are highly relevant to opportunity to see what they themselves evidence that art is still very much alive in her own art which is strongly related to the collect and choose to live with. Fremantle. The artists participating in this land, and each one triggers for her memories exhibition not only live in or around the city, of a particular place or circumstance. most also have links to one or other of the Home Open also tells us something about art establishments that continue to make Fremantle. In his recent book Fremantle Fremantle a vibrant arts community. Most Impressions, Ron Davidson describes South have at some time exhibited, taught or worked Fremantle twenty five years ago as being at Fremantle Arts Centre, and many have notable for 'cheap rents and anti-nuclear also exhibited at The Moores Building; many campaigners', and it is no surprise that artists, have had residencies at Old Customs House as well as students, teachers and academics, or had studios elsewhere in Fremantle; many moved to Fremantle, joining the European are represented in the City of Fremantle Art migrants who had been here for generations. Collection; and two artists, Jurek Wybraniec The city had character and property was and Trevor Richards, were founding members cheap; in 1976, Brian and Jo McKay bought of AC4CA, the group responsible for the their house in Fremantle for $24,000 which large wall paintings that have invigorated was then less than three times the average parts of the inner city. The artists’ comments annual wage. The multicultural atmosphere suggest that they feel a strong attachment to and the buzz created by an artistic milieu soon Fremantle, and they clearly think it is a good attracted the rest of us, and the inevitable place to live and make art. gentrification has taken place. Today, there is movement to the fringes, and not many younger artists can afford Fremantle property; Philip Goldswain The artist’s studio has long been a place of the contingencies of quotidian life, the Associate Dean in the fascination. As working spaces they are the obsessions of collecting and the modest Faculty of Architecture, subject of countless books, one of the markers displays of domestic curation of artist’s lives Landscape and Visual of the ‘creative economy’ and, most obviously, lived in Fremantle. Arts at The University of a place of artistic investigation. As historical Western Australia artefacts the studios of Francis Bacon, Jackson Institutionalised and domesticated Pollock and Constantin Brancusi have been How might we bring together these artworks re-constructed, moved or transformed into and objects, intended for personal and museums as if a vestige of the ‘aura’ of the domestic consumption, but now displayed in creative process might still be discernable to a public place? There is a history of domestic a visitor. However, rather than these artistic art collections being institutionalised – crucibles, Home Open: Fremantle Artists and Henry Frick’s New York mansion, Penny their Collections presents a more nuanced, less Guggenheim’s Venetian canal-side palazzo or romantic view of the interior life of artists. The John and Sunday Reed’s modest weatherboard exhibition offers an opportunity to indulge Interior Prospects Interior in suburban Melbourne. More recently in in a kind of benign domestic voyeurism and Melbourne, Corbett and Yueji Lyon have built for curious speculation on the relationship for themselves a compelling hybrid of private between what an artist makes, how they live house and public museum to display and and what they might surround themselves live amongst their remarkable collection of with. The premise of Home Open allows us to contemporary Australian art. The process of revisit the history of collecting and exhibiting transferring fragments of people’s collections from the curios found in 18th century from their home to Fremantle Arts Centre is wunderkammern to the peerless eccentricity not unproblematic. Fremantle Arts Centre is and spatial complexity of Sir John Soane’s itself an institution domesticated, a former house. By gathering together objects, both mental asylum based on an ‘inflated’ or over everyday and high art, as well as documenting scaled residential type. In their book George these artistic interiors the exhibition presents Temple-Poole John and Ray Oldham suggest that the building brings to mind the ‘country the genres of architectural photography and would seem impossible to remove an element houses’ or the ’regional architecture of the studio portraiture are collapsed together. Wong from the precise composition on Trevor Cotswold.’ They go on to describe Poole‘s captures a series of spaces that are framed by Richard’s mid century sideboard. southern extension (now the main exhibition the camera and the architectural elements of Exhibiting · Wong’s photographs illustrate the spaces of the Fremantle Arts Centre) as the house. Despite photography’s propensity range of responses to exhibiting objects within resembling a ‘comfortable manor house of to compress space Wong maintains the the home. Eveline Kotai and Giles Hohnen have the Elizabethan’ period. The buildings contain layered depth of the house by photographically a dedicated exhibition space while Annette domestic elements such as the Poole designed organising a series of complicated interiors Seeman and John Teschendorff have a ‘friends' fireplaces, the addition of verandahs and where doors frame further space; rooms are wall’, a tight grid of small works along one side dormer windows. Despite these domestic glimpsed or suggested by open doors but of a corridor. Here, unlike a conventional gallery, allusions, and the individual significance of the blocked from view. Spatial narratives are the work is organised by ‘association’ rather selected artworks and objects, the removal established that suggest a series of connected than medium or subject or chronology. Pam of the objects from their place in the context spaces with relationships to one another rather and Tony Jones’ walls heave under the density of an entire collection produces a tension. than isolated rooms. We are permitted into the of work that has accumulated there, more The scale and particularities of a house and public areas of the house, only occasionally do reminiscent of the 19th century salon than any the life lived there is displaced instead by the we stray into a bedroom. contemporary exhibition space. Others such history and codified norms of an institution. There is the temptation to read the interior as Trevor Vickers and Pippin Drysdale have To address limitations exhibition curators Chris (and the photographs are almost exclusively less discrete collections where the art sits Hill, Bevan Honey and Consuelo Cavaniglia interiors) as a kind of psychological portrait. comfortably alongside the objects of everyday commissioned photographer Bo Wong to Instead I would like to consider the dialogue life. The bright yellow vases in Tanya Schultz’s record these Fremantle interiors from where established between the collector, the space of collection of art glass caught by the camera the objects originated. the house and the object. Wong’s images allow draws our eye to the same luminous colour the interiors to be studied as artefacts in their found in more prosaic objects – the yellow lid of Imaging artists and their collections own right. In Gisela Züchner-Mogall’s house a Vegemite jar, a sponge balanced on the sink, The most compelling of Wong’s photographs the dark timber door frames and the eclectic teabags, a cake tin, a lemon in a bowl - and are those that feature both the artist and their collection of furniture are able to be read as imbues them with a new significance. home as a version of the double portrait where part of a domestic composition. Similarly, it Other architectural elements of the house them – is it art, a curtain, a room divider? to the viewer the circumstances of its making, become co-opted for the display of collections The sheet hangs next to wall painted with the paper quality, the relationship between - dado lines, built-in furniture, mantelpieces, blackboard paint which allows it to be covered image and text. Like Harry Hummerston’s The door pelmets, tops of cupboards and windows in chalk scribbled quotes from family and Box Print Project collection, which holds work sills. Twenty Eleven’s television becomes a friends. In others the container of the house from graduating printmaking students and looping video installation in the living room. becomes important as attention is drawn to their staff, these collections require their owner Christine Gosfield’s Deco-era sideboard is their decorative ceilings, walls, stone or timber to lead us through them, bound up as they are transformed by her collection of Mexican floors covered with rugs. But there are other with personal history and as an archive of time ex-votos. It becomes a hybrid of a cult altar moments where the house overwhelms the and place. Jánis Nedéla lays out his collection and 18th century wunderkabinette but collection contained within. Richard Gunning’s of Japanese Shunga woodblock prints for us to instead of displaying the scientific curios modest paintings are almost subsumed by inspect, satisfying the voyeur in us all. of Enlightenment rationality it becomes a the detailed interior of patterned wallpaper, repository of myth, a celebration of death and terrazzo floor and articulated cabinet work Collecting and transforming the acknowledgment of the importance of of his mid-century bungalow. Latent within many of these collections memory. Slipped underneath its glass top are Portraiture · Equally diverse are portraits of are ideas that resonate through the history a collection of back stage passes and concert the artists. They range in style from regal of collecting and display. Architect Sir tickets which bear witness to other kinds of poses of Züchner-Mogall and Theo Koning to John Soane’s Lincoln Inn’s Field residence celebration, ritual and hedonism. the relaxed lounging of Jane Martin and George (and later museum) is one which brings The photograph’s ability to capture and make Haynes on their well worn chesterfields. Wong together the ideas of home, collecting and permanent the incidental means that other photographs Penny Bovell in a pose that the transformative influence these have connections are made between people and mimics that of the figures in one of the double on one another. Begun in 1792 it might be their collections. An image of Jurek Wybraniec portraits that she has contributed to the considered as the obsessive apogee of the blurs domestic life and the collection. He sits on exhibition. The photograph becomes another collector’s house with its artefacts, models a sofa, wearing a black jumper with a singular double portrait this time with her dog. Wong and artworks overwhelming the original white star; behind him on the wall is a large red also succeeds in capturing the intimacy of the Georgian townhouse. This required Soane star. A bright yellow plastic sheet, perhaps with artist with their collections. Paul Uhlmann to buy neighbouring properties, allowing the words ‘ephemeral ’ on it, hangs between flicks through his artists’ books as if explaining the extended buildings to house his entire remarkable and diverse collection. A section evocation of other cultures or even their drawn through the centre of the house in banality make their lives richer. Accumulatively, 1810 depicts a three storey volume displaying these objects would constitute a significant an array of plaster casts, building fragments collection of art worthy of their own museum. and architectural ornamentation. Discreetly Rather than simply being institutionalised in the bottom left corner of the drawing is a Home Open provides the opportunity for miniature version of the same section, this different kind of history to be written about time depicted unadorned by Soane’s collection. these objects, a history embellished by the It is an infinitely poorer space without the lives lived around them. visual or spatial complexity brought to it by the collector’s vision. The prosaic structure of the house seems to be physically transformed when occupied by the collection, taking on the memories and reverberations of these architectural spolia. It becomes a condensed Grand Tour where time and space is folded into one single agglomerated structure. What Soane’s house illustrates on a grand scale takes place every day in domestic Fremantle. Objects imbued with all kinds of obscure and arcane significance find their way into people’s homes. Rather than the grand ambitions of an architectural education that Soane sought to impart via his house, for most people their objects and their associations with their friends, their making, their historical worth, and the nature of their finding, their At Home

partner Chad’spartner ever-expanding collection.record ceramic deer, Japanese paper balloons, and my by friends, crochet blankets, patterned artworks colours. Other collections I live with include small in rainbow orpatterns combinations of certain and re-grouped. Sometimes we arrange them from place to place in our house, re-configured qualitysurface of them. getThey moved around 15 years ago – I just love the colours, forms and collectingI started coloured glass vases about

Tanya Schultz

in formation? I findwithin these pages, is soula collective Is it possible that the quiet delight, which images and the wonder of making. areThey an evolving andarchive of story, text most of the places where the books were made. whose are works inartists my collection. I know been mainly made by hand. I know most of the My collection consists of books, which have What is a book?

Paul Uhlmann Shunga (Spring Pictures) – the erotic art of Japan during the Edo period (1603–1867). What fascinates me about Shunga is the unabashed celebration of sex as part of a fulfilled sensual life. This is the art of a complex multi- layered culture in which sex was never shameful and where the imagery was to be enjoyed, whether graceful, severely elegant, exaggerated or comic. At its most refined,Shunga has come to be recognized as one of the greatest evocations of sensual pleasure in the art world. It can also be laugh-out-loud comical – something that appeals to my sense of humour. I have been collecting these works for a number of years, seeking them out where possible, and they form an important part of my collection. Jánis Nedéla Jánis

accumulated are about connecting to others. work as a photographer, so the things that I have with and topeople, observe which is tied to my in extensively Mexico and Texas and I like to be Dead, others again I are have gifts. travelled others $2 plastic souvenirs from the Day of the are exquisite from theex-votos early 1900's I’m indiscriminate in the way I collect them, some moments and universal truths. belief and hope, about small miracles, personal These are not about religion but about people’s are about family, love andprotection, home. crosses, milagros and aroundex-votos the house constant in my life – music. The many retablos, of the cabinet in the hallway are tied to the tickets Concert tucked under the glass top visited in my travels. interested me from the many places that I have memories as well as picked up thatobjects have have both held on to things that are tied to I have accumulated things over the years and

Christine Gosfield the bargain when we swapped pictures. poetic image with considerable grunt. I reckon I got landscape, but never translated quite like this. It's a I have seen the last of rays the sun departing that But it also takes me back to Margaret River. Yes, go back 45 years – this is how long I have GJ.known The associations I have with the Giles Hohnen picture its presence. and junkiness brings a chuckle. One is happier in from scraps of Theflotsam. playof stillness,action, whirling dog, in tight formal geometric shapes made Chopin to Wishaw's Theo captures Beethoven. a Theo Koning provides a lighter touch – he plays and feeling remainsingrained that in deeply me. mine.a character have This painting frame and its being as bad as in hisand I carpentry take comfort the more powerful. The frame was made by the artist, all work the makes course of –this in colour restraint approach to the drawing, combined with a Sickertesque School Road Euston almost Astrict, time. that at School Art the of ethos the encapsulates doorway) in 1960–61. His painting that you see here (through the WishawAnthony was my tutor at Chelsea School Art years different chaptersreflecting in ourlives. that has and instinctively grown organically over the A few of the from ourworks collection – a collection

George Haynes & Jane Martin

What you see from my collection in this exhibition only takes in one part of the works that adorn the walls and surfaces of my house – focusing on Eveline Kotai. I met Eveline in 1980, having already known Giles Hohnen for several years. I saw her work for the first time around 1983 and remember enjoying the intuitive use of colour in her paint and pastel work. The exquisite use of colour in her depiction of objects gave them new life, distinguishing them from the everyday. I enjoy the softness of the edges between colour planes in Eveline’s work, and the distinctive gentle touch and sensitivity in her mark making. Over the years it has been interesting to watch her work move away from representative images towards abstraction, while still expressing similar qualities. I do love Eveline’s work, and although this small collection doesn’t show every nuance of its progression, it does give us a few glimpses. Amanda McHenry Amanda kleptomaniac Enfants Terrible of Jean Cocteau. their persons, hording disparate likeobjects the the world with such treasure about secreted taken with and permission.without crossed They from selected amongst things found, given, of thePoets Machine’s collection of are objects

Poets of the Machine

could we ask? response...as and artists as collectors, what more our interest and engaged some level of emotional recent graduates and students...all have attracted national icons; others from occasional artists, are from WA, some are from local heavyweights, now continues in Bellevue Terrace. Most works as friends, or at least acquaintances...the game installation were made that by we artists knew when we noticed that all the pieces in the original The wall of work began Street at Knutsford scale and of domestic space. been acquired...an acknowledgement perhaps of pieces, morethan often not smaller have works years and although we do own several gallery sized have beenalways collected or traded over the Works on paper and canvas, prints and paintings South West African andcarving more books. John, Australian and Asian ceramics, Sebatu and from South West Africa, Spode china and books. Indonesian and South East Asian dolls textiles, We have beenalways collecting stuff...Annette and remains, a long way from Melbourne. enclave and now Bellevue Terrace...it was then, tofirst Lilly then Street, the Knutsford Street We years inago, arrived Fremantle twenty-six

Annette Seeman & John Teschendorff

of which of belongs to which our home. family one such as in rooftops, the features rhythms looking – of emphasisesprolonged the product the – clearly of Fremantle view (Lipscombe) me.André’s And with a chord struck always Michele’s (Sharpe) luminous paintings have is a of Broome small gem of plein air painting. make me smile. painting (Hoareau) Thomas’ of failsbeing to never young celebration that paintingFred’s is (Gilbert) an exuberant suburban teenage my life. from removed an emblem somewhat of a world me for and was it Imodern suspect thoroughly felt It it. loved always and I’ve request) my (upon in midthe parents seventies me my by for bought was print John Lunghi The silkscreen friends. long-term cherished are artists all John met, the LunghiI who never from apart appeal.being least the Not that, their aesthetic all value mefor they beyond have because but I think dazzlingbecause are in they right their own only not publicly air this small of artworks, group to isIt a delight real opportunity the to have

Richard Gunning on a bookshelf or mantelpiece. findsalways a placeat home; unframed, propped at night. or mixed with other andhobbyists paintedalways painter – a reclusive character who never exhibited suddenly in 1989. and they later came into my care when he died I grew up with my father’s paintings around me memories of the people who made them. they connect me to significantexperiences and represent the spirit of the holding overall, in that The paintings forselected this exhibition sought inworks actively order to build a collection. I have rather thanslowly accumulated artworks Refuge continues to impress me and

Roy Lipscombe was a self-taught

André Lipscombe

I awrite linguistic Still Life? Haha! And neither do I. Yet I wondered, could knowing what it means.' further, anyon, further that I say aporia without quite hopeless. I should mention goingbefore any it wouldOtherwise be quite hopeless. But it is Generally speaking. There must be other shifts. invalidated as or uttered, sooner or later? and simple? Or by affirmations andnegations I do, in my situation, how proceed? aporiaBy pure ' What am I to do, what shall I do, what should From Samuel Beckett's allafter by instinct alone. Isn't it? right there. One solution, but no, never, it is in its differenceit is similar. Iit assert belongs it fit, unshining and dark?But wait, Different. It is bassalt, in that, unlike anything else. How will shapeBy or by colour? And where should it go? Related? what?By Or no, not at all, but possibly? An One,object. or two three More. objects. examination of Still Life. beauty. In their arrangement they take inpart my famiy and friendships, ofand history an idea of The orobjects paintings I have areof a reflection The Unnamable .....

Jocelyn Gregson

colleagues, and shows no sign of abating. students as artists, well as swaps with friends and Our collection from exhibitions,grows auctions, cluster There is of noportraits. hierarchy of media. sculptures could be isolated. There seems to be a A body of figurationboth inthe paintings andthe work in the preferences inexpressed the collection. An almost subconscious process seems to be at our family. and people that were and are important to us and and new. It is a to provocation of memory events and excites us and is a reminder offriends artist old Our collectionart surrounds us, engulfs us, moves memorable and indelible. the painting and meeting thehimself artist was exhibition of his in Claremont. The thrill of collecting were married – an Ivor Hunt watercolour from an We boughtin our1967, first artwork we before for theour catalysts existing collection. art the walls of the family home in Mosman Park were family’s large collection thatof works art adorned 'Sunday Painter'. This album of drawings plus the PickeringVictor Jones who was an accountant and collection of pen and ink drawings by his grandfather As a young boy, Tony had in his possession a

Tony & Pam Jones who can live in art without their life. same can be said ifor have artists, never met one enjoys silence, or a whowriter does not read. the these people. i have never met a musician who personal very one consisting largely of by works some of my biggest influences.my collection is a become some of my closest friends, my peers and adult life. over time these people have to grown by amazing and artists musicians throughout my i am enoughfortunate to have been surrounded

Twenty Eleven

for art for remainsart our guideline for collecting. principle evident in this quotation and our passion umbrella – it functions best when open'. The to Walter Gropius who said: mind 'The is like an belongings we choose to live with. I’m taken back memories and experiences and are treasured we works have collected aretied often to our change of plan to preference. give art The saved money for a second car and never regretted ‘big’first work andwe bought it in1998. We had Akio Makigawa’s have collected has a special resonance. Consequently tothe view what opportunity others collect as there are varieties of emotions. There might be as many reasons for why people findbeautiful or amazing,stunning or sublime. something about how we see the world, what we themselves as collectors. Collecting reveals something, even those who don't think of and I simplywe know collects Everyone love art. Collecting?Why Not?Why My husband Hellmut Recollection of memory IV is our

Gisela Züchner-Mogall disbursement and long on reflection. for a compulsive acquisition that is onshort image, but thefrequently work presents itself one or the other in choosing an object or an other. there is Often great invested by energy for each and boughtartefacts always artwork someone who andknows likes you. We have like, and there are things that you are given by There isyou acquirestuff that you knowyou

Susanna Castleden & Bevan Honey

The two artworks chosen for this exhibition, although created thousands of kilometres and four decades apart, have a number of aspects of the creative process in common. Mike Brown liked to work (at this time in Sydney in the early sixties) with found objects. Usually something that had been through the life it was made for and been discarded – in this case the masonite board with a hole in it – and subject matter not usually found in the 'art' context. Theo (Koning) has taken odd sections of painted wood – possibly from street collections – and transformed them with an 'art' sensibility. The Georgian mirror seemed to find a natural place between the two as it has been stripped and shows the joints, thereby making the manufacturing process both obvious and mysterious. Ruth & Trevor Vickers & Trevor Ruth ourselves ourselves with objects. to accumulate Anime dolls. We both medicate of his youth, as the genesis for his compulsion cites Looney Tunes and the animation 'Kimba' perverse/political/provocative Fassbinder, and now. Jurek has long been enamoured of Mr. old and is taking tothe compensateopportunity her doll collection away when she was 10 years We like our things because, well, Michele gave

Michele Sharpe & Jurek Wybraniec

Home is an investment. I don’t mean in the obvious sense that a bank likely owns a substantial part of the property. It’s another type of investment, it might sound corny, but I have to agree, 'Home is where the heart is'. A home is more than a roof over head. It defines a space in the universe as a particular place by giving it a name and address. Giving this place the respected identity of home, whether temporary, mobile, or more permanent, makes it a nest, and simultaneously also a portal through which we ponder and navigate external forces. Sentimentality clouds rationality (inherited goods are shipped from overseas at great expense – old china and glassware, childhood portraits, and reproductions of medieval town maps that bear little resemblance to their modern namesakes we were born in). But for all the stuff lugged across lines of longitude, latitude, and time zones, pride of place is reserved for our encounters with this part of the planet, which we now call our home. Nien Schwarz Nien

I loathed school. As reflexive therapy, I spent trance- like hours staring at the large illustrated map of the world on the wall behind the teacher’s desk, wishing I were in Babylon or Vladivostok, anywhere other than South Yarra Primary School. Since that time maps have always had the power of magic for me. It’s not just the cartographic compression of a region and the potential for travel that fascinates me. There is also the exquisite rendering of the mass of continents; the ink blue to pale turquoise gradations of the depths of oceans; the green, gold, brown and purples of the plains, uplands and mountains; the lipstick and mascara typography of the naming of every millimetre. Italy of course looks great and South America is really attractive, but for pure sexiness there is only Australia. I would absolutely describe myself as an internationalist, whatever that means. When it comes to collecting maps I’m very parochial. The moment I first saw the surpassing beauty of Susanna Castledens powerful black and white map of Australia at an exhibition at the Fremantle Arts Centre some years ago I knew I was destined to have it. My wife, Jann Marshall, acquired it without my knowledge and gave it to me as a birthday present. Map collecting doesn’t get much better than that. Max Pam Max after allafter homes. from the stray fold – hopefully they’ll find new Eventually, if not inevitably, some may works the kernel of their own flourishing collections. art children – will leave our home and hopefully form those gathered and these given toartworks, our with pleasure on so many levels. In time, some of precarious thing to do. The collection rewards generally makes this a difficult and financially choice in producing in art, an environment that pursuitcreative and as a sign offor respect their friend Iartist have –every as a way to theiraffirm beautiful things. I would love to from buy art with theand artist a passion for intriguing and acquired as a direct result of personal connections Works I’ve collected over the years have been

As As I’m happily reminded by Hippocrates, 'Art is long, Life is short'.

Therese Howard

the meaning of possessions and legacy. onprovokesthe reflection natureof collecting, and celebration but it is also anwhich entity For me the collection love,represents friendship collection ofis friends portraiture and family. because the subject of many inworks my selecting works selecting for works the relationshipsCreative became important when the decade we shared together. manifested architecture in many exciting inways OurMark combinedHowlett. passion for andart acquired during the eighties with my late husband ofThe inmajority works my collectionart were Home Open exhibition

Penny Bovell to friends and colleagues. circumstances, full of memories and connections is slow; over many years and changes in personal inart galleries and museums, this engagement Rather than the rapid experiencefire of viewing and furnishings contribute to this rich visual field. items of furniture. The colours of walls, floors their space within the house and with interact the house. I also findenjoy how these artworks daily work aroundinteraction with other artists' I get a lot of pleasure and inspiration from my spiritual sustenance in places private of residence. wallsempty – it provides visual stimulus and in Art houses goes beyond the role of decorating

Trevor Richards

subtle significance of in thehaving home. artwork will no doubt kindle an ongoing awareness of the who themade artists them), connections that friends naturally form connections to them (and backdrops to their lives, our children and their Also, while asgrowing up with these artworks developments artistic that may parallel our own. in our lives – both in our relationships and in have become markers for These artworks stages that has stronger artwork grown over time. but also when there’s been a recognition of an when often there’s been an exciting new direction, inspired to with ourswap works friends artist – occasional purchases, but we’vemostly been organicmostly in nature. There have been The accumulation of our ‘collection’ has been

Eveline Kotai & Giles Hohnen Other works, likeOther works, Tom Gibbon’s the 6x8 cigar box lid. six inworks the popular Heidelberg tradition of for where Praxis, members were asked to produce were presented for auction for a fundraising event for and won in an auction. These remarkable works on the other hand, is a series of six thatworks I bid Brian Blanchflower’s this calm outwardly and well adjusted young man. astonished me for the inner turmoil it revealed in Polaroid photograph of themselves. This painting where as reference students were to use a exercise in self-portraiture for an class,art purchased in 1983. I had set a conventional Alan Roberts’ andex-students colleagues whose work I admire. of this. My collection includes work by friends, what is forselected this exhibition is indicative has shaped the – way I have collected artwork My involvement in forthe overarts decades five gift from the artist, thisfrom the gift artist, one kindly made in 1983. Self Portrait The Ghosts of Mark Rothko , for example, was Untitled , were a

Brian McKay

a new context. to have ofthe sharingopportunity them in not many people would have seen. I’m delighted highest regard and I see them as rare gems which were They made friendsby artist I held in the late '80s – and are all small and intense works. all collected around the same time – the mid to exhibition are dearparticularly to me. were They The pieces from my collection seen in this

Megan Salmon

yard allyard represent lives of collecting. a great aunt and a pile of from therocks back surrealism. Awatercolour silverfish-eaten from wall of my nanna’s lounge is my introduction to of my nose. A painting seen as a toddler on the hits my head and creates a scar on the bridge In the middle of the night a painting falls and

Perdita Phillips Vries, Trevor Richards and Frank Morris. Snooker Ritchie, – Andrew Hayim Boys Bryce de from a group Iof playartists snooker with – The The works shown The works in RitchieHoareau, and Bryce Jon Campbell. Jane SusanBarwell, Flavell, Fred Gilbert, Thomas I collected from students. Michaelworks Carlin, JohnMerwe, Paul. students Tony David Francis, Hart, Rodney Van der school. collectingI started work otherat art artists’

A Hans print, from fellowworks Arkveld

Later Later on when I was teaching Home Open however are however

Theo Koning

important important contributions to world culture. images of this country, images that have become them to create highly sophisticated and beautiful know it and it. That’srespect how it’s possible for Anmatjere people from the Mt Allen community, like from Balgo artists theand Warlayirti the and the Aboriginal people for whom it is home, constantly shifting and changing environment, The Tanami is Desert such a unique place, a in my collection valuableare very to me. and Balgo. thatThe works I have from these areas work of from Yuendumu,the artists Haasts Bluff the landscape. That’s what meinterests in the the landscape – I draw emotion and feeling from I see in anway so Iabstract can’t really draw

Pippin Drysdale Bruce Bruce Slatter, the other an Annabel Dixon work. connect to my time one at a Curtin University; thattoworks were gifted me and that again Two sculptural thatworks are also included are significantrole inmy life, as an educator and artist. as mementos of the people who have played a These ofsets Box arePrints important to me to what was asknown printmaking and their staff, contributed awork Each year, graduating students majoring in from 1988 toCurtin University School1997. of Art, or working in the Printmaking of Department the exhibition are all by students and studying staff from myThe works collection on display in this The Box Print Project .

Harry Hummerston

but still onofferingthe new perspectives world. us great pleasure and are like old friends – familiar guiding principal. inThe works our collection give know, following their career over time, is still the now, but the early impulse towe buy from artists adventurous in what he likes. We collect together considerably; he has keena very eye and is Colin.partner The range has now broadened occasionally, to building a collection with my At some point things from shifted buying the initial decisions made in purchasing work. Kean and Thelma John. allThese interests shaped through the insightful programs initiated by John at the centre I was introduced to Aboriginal art my 'emerging' professional life and during my time Centre played Fremantlequite Arts a big role in from their exhibitions. with my works peers and buying affordablethings visual andart as an student art I began swapping Then, in the 1990's, I discovered contemporary culture of cloth is at the ofheart my own practice. I have hadalways a passion forand textiles, the

Holly Story Amanda McHenry André Lipscombe

Amanda McHenry was born in André lives with his family in a circa Melbourne and moved to Western 1900's house filled with books, Australia in 1972. Her first residence artworks and scattered St Kilda was in North Fremantle – she spent football club paraphernalia. the following 28 years plotting her His involvement in the Fremantle Biographies return to the port town. She now lives arts scene has been a long and active in an inspiring old house with warm one. He has generated many projects and welcoming spaces in the heart of through Fremantle Arts Centre, Fremantle. the City of Fremantle Art Collection Amanda held a studio space in and various public art initiatives. Artsources’ Old Customs house for five Throughout the 1980's/1990's he was years and now shares a large seven- an active member of the Oddfellows room studio space in Cliff Street with group of painters. a group of fellow artists. Her paintings André has held solo and group have been exhibited in the Bunbury exhibitions in places such as the Biennale, the Joondalup invitational Cannery Arts Centre (Esperance), Art Award, Mine Own Executioner and Lawrence Wilson Art Gallery and the in several solo exhibitions at Perth Church Gallery. Collections include Galleries, Gunyulgup Galleries and Curtin University, Shire of Esperance, Elements Art Gallery. Amanda’s work UWA and various other public and is held in various private and public private collections in Australia collections including Artbank, Woodside and overseas. Petroleum and the West Australian Chamber of Commerce and Industry. Annette Seeman & Brian McKay Christine Gosfield Eveline Kotai & John Teschendorff Giles Hohnen

Annette, John and Marcel, their son, live Since 1976 Brian has lived with wife Christine’s house, currently in a state Giles Hohnen and Eveline Kotai live in a house that is part federation, part Jo in a colonial era house on the ridge of disruption due to building work, has and work in Fremantle, having shifted colonial limestone grandeur, and part overlooking Fremantle. Many years warm and generously sized spaces and there from Margaret River twenty contemporary light-filled vastness. ago, with the help of art critic and an equally relaxed garden. years ago. They have converted a Super Deli in White Gum Valley to Annette is Coordinator of the Bachelor friend Donald Brook, he built a studio Christine’s travels have taken her to house two studios, a gallery and of Arts Honors, Graduate Diploma and in the back garden where he works. Mexico, Texas, Chicago, Nashville and Masters’ programs in the School of living quarters. Brian has been a practicing artist for many other places during her 12 years Design & Art, Curtin University. Annette’s over fifty years. He has exhibited in the in the U.S. and later as ongoing trips Eveline has had a long relationship practice mainly engages textiles, UK, China, Japan and shows regularly from her home base in Fremantle. with Fremantle Arts Centre having sculpture and the use of found objects. at the Galerie Düsseldorf in Mosman exhibited there in numerous solo and She is represented by Gallery East. Her long career as a photographer and group exhibitions. Both her and Giles Park. In 1992 he was awarded the film editor has included developing John is currently Adjunct Professor of have been recipients of the Mark Order of Australia for services to the a documentary film series on artists Art in the Faculty of Humanities, Curtin Howlett Foundation commission and Arts and in 1994, the Australia Council for the Metropolitan Museum of Art University. John’s practice now centres Emeritus Fellowship. are represented by Perth Galleries. around work on canvas and paper. He is (New York), documenting live music represented in WA by Galerie Düsseldorf. His work is held in private collections performances and shooting cd covers Their work is held in numerous public across Australia and in State and for the Nashville music industry and and private collections nationally and They have exhibited nationally and Regional galleries, and he has been working as a photojournalist for a internationally including the National internationally includig UK, USA, commissioned for many of the variety of magazines and newspapers. Gallery of Australia, Art Gallery of Canada, Italy, Israel, UAR, Indonesia, prominent public artworks seen across Western Australia, City of Fremantle Thailand, Malaysia, Singapore and Christine’s work has been the city of Perth. Art Collection, Wesfarmers, Janet Japan. Their work is held in major public, distinguished by her uncanny ability to Holmes á Court Collection and Lady corporate and institutional collections seize and elevate the candid moment. Cruthers collections. throughout Australia and in Japan, Characterised by its direct gaze and UK, USA, Israel, Malaysia, Thailand poignant clarity, her work is held in and Singapore. both private and public collections in Australia and abroad. Gisela Züchner-Mogall Harry Hummerston Holly Story Jane Martin & George Haynes

Gisela lives in a lofty and elegant Harry has lived in and around Holly and Colin live in a cottage with George and Jane have two spacious circa 1900 house. She was born in Fremantle since 1982 – his current high ceilings and the warmth of wood studios under the same roof Germany, migrating to Australia in residence is a bright 1950's double resonating throughout the house in behind their 1960's brick house – a 1985 where she now pursues her story, split-level house; classic wood floors, wall panelling and support beams. house filled with art and a notable interest in industrial materials, such as panel features, wide windows and an coffeemaker collection. Their connection to Fremantle is marked polypropylene, polyethylene, anodised integrated studio space. aluminium, for the production of by a long relationship to Fremantle Arts Painting and drawing are a focus artwork. Harry’s exhibition history includes solo Centre both as a place that contributed for both. Their numerous gallery and group shows at PICA, Chiang Mai to their art collection and for Holly in her exhibitions have included Gallery Exhibitions have included group and University Gallery (Thailand), Casula vibrant involvement as an exhibiting East, Greenhill Galleries and large solos at Gallows Gallery, Heathcote Powerhouse (NSW) and Fremantle artist and as curator and coordinator of international touring group shows. Museum & Gallery, Greenhill Galleries Arts Centre. Collection representation various projects and exhibitions including They have both been recipients and Fremantle Arts Centre. Collection the Fremantle Print Award. of the Mark Howlett Foundation representation includes Bank West, includes Art Gallery of Western commission with George being the City of Albany, Curtin University and Australia, Lawrence Wilson Art Gallery, Holly’s gentle, elegant, detailed, textile inaugural recipient. Their work is various private collections. Janet Holmes á Court Collection, works have been exhibited in galleries held in major collections including National Gallery of Thailand, National including John Curtin Art Gallery, Art Artbank, Art Gallery of Western Gallery of Victoria, The Australian War Gallery of Western Australia, Helen Australia, University of Texas Memorial and the Tasmanian Museum Maxwell Gallery (ACT), Plimsoll Gallery (Mertz Collection), Wesfarmers and and Art Gallery. (TAS), PICA, Museum of the National the Lawrence Wilson Art Gallery Territory (NT) and Turner Galleries. Collection. Representation in collections includes Art Gallery of Western Australia, City of Fremantle Art Collection, Artbank, Western Australian Chamber of Commerce and Industry, Curtin University, UWA and numerous private collections. Jánis Nedéla Jocelyn Gregson Max Pam Megan Salmon

Jánis has lived in North Fremantle since Jocelyn’s house is warm and timeless. Max Pam has travelled extensively Megan lives in a 1910 apartment with 1998 in a bright, contemporary, split-level She has easels in various rooms. over the years – at present he lives high ceilings, a trio of Juliet balconies, open-plan house. Jocelyn’s main interest for many in Fremantle in an apartment that panoramic views of Monument Hill Jánis’ long and dedicated involvement in years has been still life and she offers wide views of the harbour, and port glimpses. the arts has seen him take on the roles paints wherever the light or subject which in the 1970's served as his A leading WA fashion designer over of gallery director, mentor, curator and is – including the kitchen, lounge gateway to the world. the last 15 years, Megan is known much more. In his 28 year art practice text and garden. has always been a focus – outcomes have His photography has responded to the for a stylish, romantic aesthetic included collages and assemblages using Jocelyn has had a long relationship travels: Ethiopia, Tanzania, Mauritius, that combines original prints and books as their basic format. with Fremantle Arts Centre through Madagascar, Europe, Australia – sculptural forms. the collection and exhibition program photography, drawing and collage In 2005 he was awarded a Creative A graduate of Fine Art Curtin and importantly as one of the central forms travel journals. Max continues Development Fellowship from the University (1984) Megan is a painter figures in the learning program as a to travel developing photographc Department for Culture and the Arts and with a strong expressionist style and drawing and painting tutor. works for exhibiton and publication at the end of 2006, he returned from a two is noted for her drawing. month residency at the Artists’ Union in in various books and monographs. Jocelyn is represented by Galerie Latvia, which culminated in his exhibition Exhibitons include Art Gallery of New Collection representation includes Art Düsseldorf. Exhibitions include solo Books + Texts as an Object #2 at Gallery South Wales, Photo Espana (Madrid, Gallery of WA, Powerhouse Museum, and group shows at Galerie Düsseldorf, Bastejs. Collection representation includes Spain), Art Gallery of Western Murdoch, Curtin and Edith Cowan Fremantle Arts Centre, Rex-Livingston Art Gallery of WA, Australian Capital Australia and Eaton Fine Art (Florida, Universities and City of Fremantle (NSW), Mundaring Arts Centre and Equity, Australian Library of Art, State U.S.A). His prints are in national and Art Collection. Macquarie Gallery (NSW). In 2006 she Library of Queensland, City of Fremantle, private collections in Australia, France, Conservatorium of Music in Sydney, was awarded a Mid-Career fellowship Represented by Galerie Düsseldorf, Great Britain Italy and Japan. Curtin University, Edith Cowan University, from the Department of Culture and Megan has also shown paintings, Murdoch University and Wesfarmers. the Arts. Her work is represented in textiles and fashion at Fremantle His work was the subject of a major book various public and private collections. Arts Centre over the last 20 years. ‘CODES: The Art of Jánis Nedéla 1982– 2007' by Dr David Bromfield. Michele Sharpe & Nien Schwarz Pam & Tony Jones Paul Uhlmann Jurek Wybraniec

Jurek and Michele’s veranda, enclosed Nien’s house is architecturally designed Tony and Pam moved to Fremantle in Paul lives in a weatherboard house in in aluminium louvres, is the clean to bring the outside inside. A multi-level 1981. They have had a close connection to a tree-lined street. He hasn’t always industrial entrance that welcomes you construction with a large glass wall the city since, with both being involved lived in Fremantle but his connection to their house, which by contrast is opening up to a generous leafy garden, with Praxis and Fremantle Arts Centre, to the place has a long history – he has warm weatherboard. They have lived it resonates with a deep appreciation and Tony being a board member of both exhibited at The Moores Building and in Fremantle for twenty years. for observing seasonal changes. The Artsource and Praxis. They witnessed the at Fremantle Arts Centre where he has Since 2001 Jurek has been contributing foundation stones are nestled in the evolution of the Artists Foundation and also been involved in public programs to the fantastic murals that have hollow of an old limestone quarry on the its growth into Artsource. and held a residency studio. In 2009 he activated walls in Fremantle and fringe of South Fremantle. Tony is well known for his public art work held a major exhibition of new works at beyond, through the Australian including the horse-mounted C.Y. O’Connor. Fremantle Arts Centre as a culmination Nien has lived in many parts of the globe. Centre for Concrete Art – of which Tony’s exhibitions have included Gallery of a residency and his PhD body of work. With a keen interest in exploring the land he is a founding member. Jurek has East, Victor Mace Gallery (QLD), Fremantle helped along by years working as a field Paul’s paintings, prints and books have explored fields of painting, design and Arts Centre, Lawrence Wilson Art Gallery, cook for geological mapping crews in the been exhibited widely including at the installation for the past 25 years. He Art Gallery of Western Australia and PICA. Canadian arctic and Australian outback, Mornington Peninsula Gallery (VIC), and Michele have both had studios at Representation in collections includes and her geophysicist father and husband, La Trobe Gallery (VIC), Rotterdam Artsource’s Old Customs House and the Art Gallery of Western Australia, her impetus to explore and travel seems Academy of Fine Art (Rotterdam, continue to work out of studios in the Janet Holmes á Court Collection, Curtin inevitable. Holland), Helen Maxwell gallery (ACT), area. Known for her paintings, Michele University, Murdoch University and the Gallery East and PICA. currently makes non-traditional quilts Her work is concerned with considerations City of Fremantle Art Collection. using recycled textiles. of the earths’ surface – exhibitions have Known for her geometric and hologram- His work is held in many private and included PICA, Spectrum Project Space, like jewellery Pam’s work has been seen public collections nationally and travelling exhibitions taking in regional in exhibitions at Gallery East, Fremantle internationally including the Art Gallery West Australian galleries, Canberra Arts Centre, Art Gallery of Western of NSW, National Gallery of Victoria, Museum of Art (ACT), De Vaalserberg Australia, Art Gallery of Northern Territory Bankwest, the National Gallery of (Rotterdam, Netherlands), Surrey Art (NT), Craftwest (FORM). Collection Australia and the City of Fremantle Gallery (Vancouver, Canada), Stargard representation is in various private and Art Collection. Szczecinski Museum (Szczecinski, Poland). public collections. Penny Bovell Perdita Phillips Pippin Drysdale Poets of the Machine

A recent move to Beaconsfield meant A consummate wanderer, Perdita Pippin lives in a colonial cottage in Poets of the Machine have lived in Penny Bovell could be close to the Phillips currently inhabits the front room the heart of Fremantle. She travels Fremantle for the last ten years – the warehouse space she leases in the of a split-level East Fremantle house, widely but she states “it’s always been longest period they have stayed in any industrial precinct of O’Connor. Her art which on three sides, wraps around a important to come back to my funny old one place. Their house is a converted collection is in storage while she prepares magnificent and evolving garden. shed in Freo and make the work”. studio built in the '90s in the heart to build a new home. of Fremantle. Her connection to Fremantle has been Her accomplished ceramic pieces have Penny makes work about phenomena a long and productive one – her first been inspired by the colour, contrast They have strong links to a number such as sky, air and space because she studio was at Artsource’s Old Custom’s and light of Australia and appreciated of arts organisations in Fremantle is interested in how these phenomena House and first solo exhibition in The by visitors in galleries worldwide – having exhibited at Fremantle Arts affect our senses and the cultural Moores Building. She has walked the including Mobilia Gallery (Boston U.S.A), Centre and currently working in one of imagination. At present she is creating a streets of Fremantle documenting them Galerie Marianne Heller (Germany), the studios. Their involvement with body of work based on artificial clouds. in audio and image for the strange strolls Yamaki Gallery (Osaka, Japan), Samstag Artsource linked them in with artists Besides producing work for exhibition, sound art walking exhibition. Museum (SA), John Curtin Gallery, Anant in Basel (Switzerland) where they also her current public art project, Infinitum have been studios residents over the – an engaging, unfinished and infinite Photography, sound recording and Gallery (Delhi, India). years. Their international connections project, involves recreating her collection drawing form part of Perdita’s Collection representation includes have generated some exciting of books (about aerial phenomena) onto approach to exploring experiences of National Museum Scotland, Museo collaborations that they continue to the extensive concrete facade of the new place, environment and ecology. She della Ceramica (Faenza, Italy), National extend on. Poets of the Machine go Kwinana Resource and Knowledge Centre. has worked extensively in Western Gallery of Australia, Tasmanian across areas of definition blending Exhibitions have included group and solo Australia and abroad with recent Museum and Art Gallery and numerous writing, performance, installation, shows at Goddard de Fiddes, Lawrence exhibitions including, In Vetland art and other public and private collections costume design and more. Wilson Art Gallery, Art Gallery of Western science residency and solo exhibition internationally. Australia and Fremantle Arts Centre. (Murdoch University), Open studio at Collection representation includes the Walking and Art residency (Banff Parliament House (Canberra), Artbank, Centre, Canada) and Systems of Nature Art Gallery of Western Australia and City (Lawrence Wilson Art Gallery). of Fremantle Art Collection. Richard Gunning Ruth & Trevor Vickers Susanna Castleden & Tanya Schultz Bevan Honey

Richard lives in a classic 1960's house Trevor and Ruth live in a welcoming Bevan and Susanna work out of their Tanya lives in a workers' cottage with striking terrazzo floors and hand- weatherboard cottage, with a sunny respective studios in Fremantle, where with high ceilings and a long hallway painted wallpaper. garden tended by Theo Koning. They have they also live with their daughters and with rooms leading off to one side, recently built a spacious modern studio in He graduated with a Bachelor of Fine a variety of animals. Both artists work and ending in open living spaces – the backyard from which they both work. Arts from Curtin University and over with the notions surrounding the core vast collections fill the house, the years has lectured in every major Trevor grew up in Perth, then moved to idea of locative identity. coloured glass, figurines, records Melbourne in his early teens where he and crocheted blankets. Perth tertiary institution. Exhibitions have included solos at worked and painted. During a trip back to Galerie Düsseldorf, PICA, Monash Tanya’s practice encompasses His figurative paintings have been Perth he met Ruth who was on a working University (VIC), Tin Sheds (NSW) painting, drawing, wall-works, shown in galleries including Galerie holiday from Britain. An early Australia sculpture and installation. She Düsseldorf, Fremantle Arts Centre, Council grant took them to Europe for and group exhibitions at Plimsole Lawrence Wilson Art Gallery and research and study – they stayed in Gallery (TAS), Art Gallery of Western works both independently and also as a member of the painting group England for the following twenty years. Australia and Linden Centre for collaboratively with other artists. Oddfellows in various exhibition Returning to Western Australia in the Contemporary Art (VIC). Collection With Nicole Andrijevic she works as venues Australia wide. mid-nineties they settled in Fremantle. representation includes Artbank, Edith collaborative duo Pip & Pop to create Cowan University, National Gallery hyper-coloured installations from Collection representation includes Trevor’s minimal geometric paintings of Australia, Art Gallery of Western an eclectic mix of materials, sugar, the Art Gallery of Western Australia, have been exhibited widely including UWA, Curtin University, Murdoch Perth Galleries, Goddard de Fiddes, Australia, Art Gallery of South sand, found objects, origami, artificial University, Artbank, Janet Holmes á Lennox Street Gallery (VIC), Charles Australia and the City of Fremantle plants and more. Art Collection. Court Collection, City of Fremantle Art Nodrum Gallery (VIC), National Gallery Tanya has exhibited at PICA, The Collection, Edith Cowan University, of Victoria and Curwen Gallery (London, Bevan and Susanna’s involvement Japan Foundation (NSW), West Westfarmers Collection, and the UK). He was also a recipient of the Mark with Fremantle Arts Centre has been Space (VIC), Fremantle Arts Centre, Chamber of Commerce and Industry. Howlett Foundation commission. Ruth’s long and vibrant – they have held solo Federation Square (VIC), Aichi focus is textiles, her works have been shows, participated in many group Triennale (Japan) and A-Things supported by the Western Australian shows and contributed to a number (Japan). She has recently undertaken Fibre and Textile Association and of Fremantle Arts Centre projects in a residency at PICA and in Japan, and exhibited in various group exhibitions. curatorial and organisational capacities. will soon be exhibiting in Britain and Germany. Theo Koning Therese Howard Trevor Richards Twenty Eleven

Theo is a consummate collector of Therese lives in a federation style, Trevor Richards lives in an immaculate Twenty Eleven arrived in Fremantle all things. His two-storey studio is in two-storey house. A magnificent 1960's house with splendid terrazzo with a back pack, a suit case and seven the yard of his weatherboard house in array of objects fill ledges and shelves, floors that extend their mesmeric dollars in his pocket. He knew nobody South Fremantle and opens up onto corners and mantelpieces. patterns throughout the house. He has and nothing about the city, had no plan his wonderful and constantly evolving been living in Fremantle and practicing and no place to stay. Ten years later, he Her connection to Fremantle has garden – the high point of his house. as an artist over many years, exhibiting still has no plan and only seven dollars been long with working out of various locally, nationally and internationally. to his name but the suit case and back Theo has lived and worked in studios over the years including the pack have turned into a big, breezy Fremantle for thirty years. He is a vibrant Cliff Street studio that she Trevor was a founding member of the house filled with art, a studio that is prolific maker and his inventive works currently works out of with a group of Australian Centre for Concrete Art – have been exhibited widely including busy and incredible people around him. fellow artists. painting murals around the centre of exhibitions at Galerie Düsseldorf, Fremantle. He has been a recipient Twenty Eleven ’s work takes his Art Gallery of Western Australia, Art Therese has exhibited widely – her of the Mark Howlett Foundation experiences and turns them into Gallery of South Australia, Lawrence small and often highly humorous commission. Exhibitions have included visuals that come out in paint, felt pen, Wilson Art Gallery and RMIT Gallery sculptures and meticulously installed solo and group shows at Turner photos and much more. His connection (VIC) and Fremantle Arts Centre; bronzes have been shown in galleries to his surroundings has also seen Theo was also a recipient of the Mark including Sullivan & Strumpf (NSW), Galleries, Goddard de Fiddes, Lawrence him pull spaces and people together Howlett Foundation commission. Hawksebury Regional Gallery (NSW), Wilson Art Gallery, Art Gallery of Western Australia, Art Gallery of South through unique initiatives that have His work is held in many collections Grantpirrie (NSW), Goddard de Fiddes, Australia, Roslyn Oxley9 (Sydney), given local and national artists the including Artbank, UWA, Murdoch Lake Macquarie Gallery, TarraWarra Hebel_21 (Basel, Switzerland), H29 opportunity to show artwork in University, Parliament House (ACT), Museum of Art (VIC) and Fremantle (Brussels, Beglium). Collection innovative exhibition programs. National Gallery of Australia and Arts Centre. the Art Gallery of South Australia representation includes Artbank, Ian Collection representation includes collection. Bernadt, UWA, Murdoch University, Artbank, Art Gallery of Western National Gallery of Australia and City Australia, Ian Bernadt and Janet Holmes of Fremantle Art Collection. á Court Collection and other private and public collections nationwide. Acknowledgements Isabel Krüger Design Publication Collectors Participating Bo Wong & Photography Jessica Darlow Isabel Krüger Doust Kathryn Lipscombe André Honey Bevan Consuelo Cavaniglia Chris Hill Jasmin Stephens (to July 10) Jim Cathcart TeamProject Honey Bevan Consuelo Cavaniglia Chris Hill Home Open +61 8 9432 9555 fac.org.au 1 Finnerty St WAFremantle 1 Finnerty 7 days 10am–5pm

Co-Curators Co-Curators Twenty Twenty Eleven Trevor Richards Howard Therese KoningTheo Tanya Schultz Susanna Honey & Castleden Bevan &Ruth Trevor Vickers GunningRichard of the Machine Poets Pippin Drysdale PhillipsPerdita Bovell Penny Paul Uhlmann Pam & Tony Jones Nien Schwarz Michele Sharpe & Jurek Wybraniec Megan Salmon Max Pam Gregson Jocelyn Jánis Nedéla &JaneHaynes Martin George Holly Story Hummerston Harry Gisela Züchner-Mogall Eveline Kotai & Giles Hohnen Gosfield Christine Brian McKay John Teschendorff Seeman & Annette Lipscombe André Amanda McHenry Collectors Participating André Lipscombe André Curator Collection Art of Fremantle City Simone Johnston Hickson Charlotte Officers Exhibitions (acting) Erin Coates Coordinator Exhibitions Vacant Manager Curator/Exhibitions Stone Pete Manager General Jim Cathcart Director Centre Arts Fremantle ideas and perspectives. andforum fresh contributing hisfor writing essay, the hosting Thank you to Philip Goldswain to their homes. numerousover visits the curators and welcoming and art artefacts generous in lending their valuable who have been so collectors Thank you to all the participating idea isthis based project on. Thank you to Colin whose Story Acknowledgements Curators’ to the artists unless tonoted. the artists and All copyright images courtesy Isabel Krüger Graphic Designer Jessica Darlow Assistant Communications Doust Kathryn Coordinator Communications Gregson George Jens Donlin Simone Johnston Hickson Charlotte Alistair Rowe Zoe Barry Claire Canham Egerton-Warbuton George Neil Aldum TeamInstallation Delfs Elizabeth Coordinator Award Print Centre Arts Fremantle Honey Bevan Studios Coordinator and Residencies Richie Kuhaupt Coordinator Exhibitions Building Moores In the course of making Home Open, terrazzo featured in many of the homes that were visited and became the recurring visual link to Fremantle’s multicultural heritage and social history. A concrete surface or tile which is polished to reveal marble chips and other aggregates, terrazzo was developed as a low cost flooring which used the left over material from more expensive stonework commissions. In Home Open terrazzo is a reference to Fremantle’s subsequent status as a city, which like terrazzo, is composed from a colourfully broad cross section of elements, many of whom were artists. Although not confined to Fremantle, much of the terrazzo found around the port city is unique in style. This can be attributed to Giuseppe Scolaro who emigrated from the Sicilian town of Capo d’Orlando in 1949. The inventive Scolaro recognised the opportunity to develop the terrazzo business and opened up a factory in Blinco Street which employed local people and supplied many Fremantle builders. In 1960 Scolaro built a house on High Street in which Trevor Richards and Mary Burns now live. Many of the terrazzo images used for this project are taken from this house, with Trevor and Mary having also graciously contributed to this project as collectors.