A close up of molten orange glass in a circular form.
This event is part of Winter Light 2022 and is presented by Salamanca Arts Centre
A Warm Glow to Remember is a body of work that physically manifests Yumemi’s personal relationship to her Japanese heritage. It is her transitional journey in reconciling her place as a resident within cultural gaps while accepting the importance of letting go.
3 – 28 August 2022 Opening Event Friday 5 August 2022 6 – 8pm with performance happening at 7pm RSVP
Yumemi Hiraki is a multidisciplinary artist currently based in Nipaluna. Her practice delves into the interactions between memory, nostalgia, history and connection to place, while re-examining the relationship to her Japanese heritage. Viewing herself as a resident of cultural gaps, her works evokes a familiar yet foreign sense of longing, belonging and holding on, while hinting at life’s inevitable continuity and ephemerality.
Yumemi is originally from Hiroshima, Japan. She completed her BFA(Sculpture and Spatial Practice) at the Victorian College of the Arts and has been an active Arts Worker while exhibiting and developing her practice in both Naarm and Nipaluna. Yumemi has a growing interest in community-based arts, mentorship and education, and currently also works as a Youth Arts Officer at the Youth Arts and Recreation Centre.
Whilst the wearing of masks is not mandatory it is recommended in certain situations by Tasmanian Public Health. Masks will be available upon entering our venues for those patrons who would like one.
If you’re unwell, it is recommended that you stay at home, and we look forward to welcoming you at Salamanca Arts Centre another time.
Thursday 7 April – Sunday 26 June 2022 This exhibition is part of the OPEN SKY / Kelly’s Garden 2022 program Curated by Ainslie Macaulay
Opening event 7 April 2022 6pm – 8pm
Workshop Sunday 10 April 2022
Panel Talk Monday 11 April, 5:30pm-6:30pm ‘Dance in Urban Media Art’ Wendy Yu in conversation with with Emma Porteus and Adam Wheeler
Acts of Holding Dance has its first Tasmanian iteration in Kelly’s Garden, presented by Salamanca Arts Centre. Emerging interdisciplinary artist, Wendy Yu playfully responds to site through her large-scale video work and image stills, cleverly merging dance, computational design and urban media.
Yu talk about her process:
‘When making these projections, I’m “soft” choreographing, where I give scores and choreographic structures to the dancers that encourage them to move within these given boundaries, but in doing so there is also space within these scores that allow for them to impart their own individualistic styles of dancing. In constructing this series of work, I want to be authentically reflecting the individual’s practise of dance, as a dedicated artform, that the dancer has invested in’
Artists
Photo: Hendrix Lesmana
Wendy Yu Artist
Wendy Yu is an interdisciplinary artist actively practising in the fields of dance and urban media placemaking. She is a Masters graduate in Interaction Design and Electronic Arts at the University of Sydney and intends to further her research on creative interfaces between dance and city spaces through further research.
Her works of urban media placemaking have seen installation in Atlanta USA, the Powerhouse Museum Sydney, Carriageworks, the Inner West City Council, Woollahra City Council, numerous arts festivals in Sydney, Melbourne, Poland, St. Petersburg, Beijing, Berlin, including Beijing Tech Arts Festival 2021, where she also gave a lecture on dance and computational design.
Wendy has also given lectures of dance and computational and interface design in Berlin as part of Stammtisch Arts Festival, Melbourne as part of Lucy Guerin and Temperance Hall, Sydney as part of Ausdance Australia and March Dance Festival.
Wendy Yu has undergone residencies with the Municipality of Woollahra, the Inner West City Council, Ausdance dance artist in residence residency program, March dance residency program, Bundanon residency program, Centre for Projection art residency etc. where she conducted theoretical research dance’s position in urban media art.
Photo: supplied by the artist
Bethany Reece (she/her) Dancer
Bethany is a contemporary dance artist born in lutruwita/Tasmania. She began her training in 2016 at the Western Australian Academy of Performing Arts (WAAPA). In 2018 Bethany was awarded the Palisade award for ‘most outstanding graduate’. Throughout her studies Bethany travelled to Taiwan as an exchange student with the Taipei National University of the Arts (TNUA) in 2017, and the following year toured the works The Resistance and Panthea by Brooke Leeder and Natalie Allen. In the same year Bethany staged her first choreographic work, This Transitory Weight. In 2019 Bethany was awarded a Bachelor of Arts (Dance) with First Class Honours from WAAPA and was a member of LINK Dance Company under the directorship of Michael Whaites. In her time with LINK she performed in works choreographed by Niv Marinberg, Scott Elstermann, Raewyn Hill, and Michael Whaites, and toured both nationally and internationally.
In 2020 Bethany became a developing artist with Co:3 Australia, and worked as an understudy for the production of Leviathan, a collaborative work with Circa performing both Leviathan and Stephanie Lake’s Colossus in Perth Festival 2020. Bethany has since returned to build her practice in lutruwita/Tasmania. Bethany received a Regional Arts Fellowship in 2020 to develop a new work that is in continued development. In 2021 Bethany was a collaborative choreographer on DRILL’s Leviathan, and dance artist with Second Echo Ensemble in the development of Charlie Smith’s Outside Boy. Bethany also worked as a performing artist in the Faro Experience at MONA in 2021, and as a casual lecturer delivering the unit Movement For Performers at the University of Tasmania. In 2022 Bethany performed in Rachel Ogle’s And The Earth Will Swallow Them Whole in the Perth Festival to great critical acclaim. Bethany is invested in work that is community centred, inclusive and has a social justice focus. Bethany believes dance has the ability to inspire a sense of belonging, and she is passionate about sharing this experience with dancers and nondancers alike.
Photo: supplied by the artist
Kyall Shanks Dancer
Kyall is a Naarm/Melbourne based contemporary dance artist. His career has focused on finding a balance between performance, choreography and teaching work, and he is passionate about using the skills from these areas to increase the accessibility of dance through youth and community work. Since receiving his Bachelor of Fine Arts Dance from the Victorian College of the Arts he has danced for Tasdance, Antony Hamilton Projects, Chunky Move, Matthew Bourne’s New Adventures, Opera Australia, The Delta Project and Liquidskin Dance Company. In 2017-2018 Kyall undertook an 8 month international residency program with DanceBox in Kobe, Japan, and then spent 3 months in Sweden as a member of ilYoung 2018. Through various programs and projects Kyall has engaged with community youth groups and schools as a teacher and choreographer, examples of this being the Arts Centre Melbourne/Matthew Bourne ‘Lord Of The Flies’ project, the 2019 Dance Massive work ‘Simulcast’ and Stephanie Lake’s 2020 mass community work/film ‘Multiply’. He works as Artistic Director to preprofessional youth dance company Yellow Wheel and through teaching work has represented the Victorian College of the Arts, Chunky Move, Ausdance Victoria, Arts Centre Melbourne, DRILL, Transit Dance and The Space Dance and Arts Centre.
Photo: supplied by the artist
Emma Porteus Panel facilitator: ‘Dance in Urban Media Art’
Emma holds a Bachelor of Contemporary Arts (Honours). She believes deeply in the positive power of art to transform individuals and communities positively. Emma has over 15 years’ experience working as a performance-maker and producer of dance, community, and festival projects throughout Australia and internationally, including with Vrystaat Festival (South Africa), ANTI Festival (Finland), Sydney Festival (NSW), Dancehouse, FOLA, Melbourne Fringe Festival, Next Wave (Vic), Tracks (NT), Dark Mofo, Mona Foma, Tasdance, Ten Days on the Island, Festival of Voices, Junction Arts Festival, and Tasmania Performs (Tas). In her current role as Executive Producer of Situate Art in Festivals, she is really interested in performance and art-making models that connect people and places. She helps artists create and produce tourable live, visual art, and festival events that can be delivered in any community, in any country, to produce rich experiences that speak directly to the place, the people, and communities who help create it.
Photo: supplied by the artist
Adam Wheeler Panel facilitator: ‘Dance in Urban Media Art’
Adam is a Tasmanian born, Stompin and Victorian College of the Arts Alumni. Adam has performed for Chunky Move, Jo Lloyd, Circa Nica, 2NDTOE and Opera Australia and has made work for Lucy Guerin Inc (Pieces for Small Spaces), Stompin, QL2, Steps Youth Dance Company, fLing Physical Theatre, Tasdance and Chunky Move. As an Artistic Director, founded Yellow Wheel and 2NDTOE. Led AYDF in 2014 and 2017, The Space School of Performance Arts, Short+Sweet Dance and is currently the Artistic Director of Tasdance. Adam is curious about interdisciplinary making, providing pathways for artists to develop practice, and getting the community moving – all from his regional home of lutruwita/Tasmania.
Credits Dancers | Bethany Reece | Kyall Shanks
The Open Sky/Kelly’s Garden 2022 program is supported by the Commonwealth Government’s Office of the Arts via the RISE Fund.
Sevé de Angelis. costal portrait (2022). Oil on canvas.
Opening Event Friday 1 July 2022, 5:30pm – 7:30pm
late for tomorrow, by emerging artist Sevé de Angelis, is a series about love and time, care and frustration. The water, the sky, the wood and the rock.
This is a series of process-based entries that have evolved through the alchemical properties of paint.
A process of morphology gives faces, figure and landscape an ability to rise.
Musings on our environment as an extension of ourselves, John Michell’s book Simulacra; a familiarity of human likeness in nature, and Daevid Allen’s Garden Song with its brief passage on us being an extension of the dreaming planet were the ideas for this series.
At the core, they are about love and time, care and frustration; about living with the water and sky, and the rocks and trees with voices and memories.
Sevé de Angelis is a Tasmanian visual artist. He is from Launceston and graduated with a Bachelor of Fine Arts in 2018 from the University of Tasmania. He lives in Hobart.
Alyce Bailey. Thither (2022). Pen and acrylic on canvas. 70cm x 90cm.
The Long Way Home features new original paintings and limited edition prints by Alyce Bailey
“I believe that to long for home, is to be human. It is the ache to be whole, to be known, loved and understood. To be at home with oneself is one of life’s greatest challenges and to be considered someone’s home, one of life’s greatest joys.
For me, home isn’t just a place. It’s those feelings we experience once we’ve found what we have been searching for – whether that’s love, acceptance or peace and it is from these longings that my works have sprung.” – Alyce Bailey (2022)
Opening Event Friday 1 July 2022 @ 6:00pm
Alyce Bailey. Marie (2021). Archival print on cotton rag. 60cm x 40cm
Alyce Bailey. Grace (2021). Archival print on cotton rag. 60cm x 42cm.
Alyce Bailey. Jack (2021). Archival print on cotton rag. 60cm x 42cm.
Photo: Remi Chauvin
Why did we start building things so symmetrical?
An installation by Georgie Vozar
Baron landscapes, the harsh undulating lines of new rock formations. Holding space. Moulded and re-purposed. The kind that hold up, fill up, and trip up. Do you see? Why did we start building things so symmetrical? Now feel the nature of the earth: what lies beneath its surface? Can you see the reddish-metallic copper? Like the metamorphic hole it was taken from, it will never rust.
Image Credit: Emma Bingham. Untitled (detail) (2022). Pastel on paper. 190cm x 150cm.
convoke verb. con·voke | kənˈvəʊk – call together or summon; – a summons to assemble; – a calling up of a number of things that form a group in order that they may be exhibited, displayed, or utilised as a whole.
Convoke is an annual showcase of works by Salamanca Arts Centre’s Resident Visual Artists, with all works created during the artists’ Residencies as part of their Studio Practice.
Works range from photograph to painting to collage; sculptural works to video to ceramics; figurative to abstract; from Artists who work in the Willis, Stanmore and Morrison Studios.
Last Dance Orange Roughy depicts the final Australian voyage of the RSV Aurora Australis to the Antarctic continent. The Aurora Australis has been carrying expeditioners and resupply to Antarctica for over 30 years. This final voyage was special in many ways. It departed with COVID-19 just a whisper and returned to a fundamentally changed world. The extra protocols instituted on the ship in response to COVID-19 reinforced the interdependency and collaborative actions of such a tightly knit microcosm, already essential for survival in Antarctica, but with a renewed sense of urgency in the emerging emergency. At that time Antarctica became the last COVID-19 free continent and we had a duty to preserve that status.
Using laser and photogrammetry scans and ambisonic sound recordings of the ship, crew and expeditioners, Last Dance Orange Roughy presents a virtual experience depicting the intricate choreography of ship and expeditioners. Using an artistic rendering of the ship along with choreographed impressions of the crew and expeditioners, Last Dance Orange Roughy portrays the final voyage as an intricate dance sustaining life.
Last Dance Orange Roughy is an immersive visual and sonic feast of three-dimensional environments and spatial sound visualising and sonifying the last grand Antarctic dance of the Aurora Australis, crew and expeditioners. John McCormick and Adam Nash (Wild System) were the 2020 Australian Antarctic Arts Fellows on the final Australian voyage of the icebreaker Aurora Australis to the Antarctic continent.
Antarctic Art Fellows: John McCormick, Adam Nash 3D Artists: Casey Richardson, Casey Dalbo Choreography: Kim Vincs, John McCormick Dancers: Valentina Dillon, Wendy Feng Ambisonic Sound: Adam Nash Antarctic Arts Program: Sachie Yasuda, Tiffany Brooks Drone Filming: Simon Payne, John McCormick 3D Stereo development: Joshua Reason Ambisonic sound consultant: Simon Maisch
John and Adam would like to extend their thanks to all the crew and expeditioners aboard the final voyage of the RSV Aurora Australis to the Antarctic Continent.
Whilst the wearing of masks is not mandatory it is recommended in certain situations by Tasmanian Public Health. Masks will be available upon entering the venue for those patrons who would like one.
If you’re unwell, it is recommended that you stay at home, and we look forward to welcoming you at Salamanca Arts Centre another time.
Artists
Photo John McCormick
John McCormick
John McCormick is a technology based artist with a major interest in movement. John is a lecturer and researcher at the Centre for Transformative Media Technologies, Swinburne University of Technology where he investigates artistic practice in mixed reality environments, robotics, artificial intelligence and human movement. John has collaborated on works worldwide, including at ISEA, SIGGRAPH, Melbourne Festival, SIGGRAPH Asia, Ars Electronica Futurelab and Art Science Museum Singapore.
Photo: John McCormick
Adam Nash
Adam Nash is an artist, composer, programmer, performer and writer working in virtual environments and generative platforms. His work has been presented all over the world, including SIGGRAPH, ISEA, ZERO1SJ, the National Portrait Gallery and Venice Biennale. He is Associate Professor (Virtual Interior) in the Interior Design discipline, School of Architecture and Urban Design, RMIT University.
A painterly surface with the echoing motif of the bottle.
This work talks directly to Jake Walker’s exhibition Grog, which was held in Kelly’s Garden and which is part of our curated OPEN SKY / Kelly’s Garden Program.
Jake Walker | Genevieve Griffiths
Jake Walker
Jake Walker was born in New Zealand and moved to Australia in 2000. His practice is inextricably linked to the natural and cultural landscapes of New Zealand. Walker admits that as a child he ‘didn’t really know there were too many other kinds of painting’ aside from landscapes. His works are constantly shifting and revisited after some time, with chance and instinct at the core of his working practice. Sometimes this results in works of ‘weightlessness of accident and incident.’ Exploring themes of modernist architecture and abstract perspectives, Walker’s free and loose sense of play embraces material forms. Walker sees paintings as objects, not flat two-dimensional images. This openness to experimental processes has led to a series of works using clay- painterly forms and stoneware frames that lead from one thing, to another.
Thursday 20 January- Sunday 27 March 2022 This exhibition is part of the OPEN SKY / Kelly’s Garden 2022 program Curated by Ainslie Macaulay
Closing Event 23 March 2022 5.30pm – 7pm
Jake Walker will present a group of ambiguous ceramic objects, alluding to keys, paintings and alternate realities.
Grog: a granular material that has been crushed down from brick, refractory rock, or other pre-fired ceramic product and added to clay to give textures, reduce shrinkage during firing, help the clay to form uniformly and stop cracking and warping when being fired.
Grog; a strong alcoholic drink, originally rum , mixed with water
Jake Walker was born in New Zealand and moved to Australia in 2000. His practice is inextricably linked to the natural and cultural landscapes of New Zealand. Walker admits that as a child he ‘didn’t really know there were too many other kinds of painting’ aside from landscapes. His works are constantly shifting and revisited after some time, with chance and instinct at the core of his working practice. Sometimes this results in works of ‘weightlessness of accident and incident.’ Exploring themes of modernist architecture and abstract perspectives, Walker’s free and loose sense of play embraces material forms. Walker sees paintings as objects, not flat two-dimensional images. This openness to experimental processes has led to a series of works using clay- painterly forms and stoneware frames that lead from one thing, to another.
