Artist Bios 34 – Kaldor Public Art Projects https://kaldorartprojects.org.au Wed, 10 Aug 2022 05:49:21 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://kaldorartprojects.org.au/wp-content/uploads/2021/02/favicon-kaldor1.png Artist Bios 34 – Kaldor Public Art Projects https://kaldorartprojects.org.au 32 32 Ivey Wawn https://kaldorartprojects.org.au/profile/ivey-wawn/ Tue, 23 Feb 2021 02:14:16 +0000 https://kaldorartprojects.org.au/?p=1128

Ivey Wawn

A young woman kneels on the soil-covered floor of an old, brick industrial building. The woman speaks into a microphone, reading from a sheet of paper. An audience of around 20 people stands in the darkened space, watching the woman.
Three young women crawl across the soil-covered floor of an old, brick industrial building. The women carry mirrors on their backs.
A young woman dances in an old, brick industrial building. A second young woman plays a harp. An audience of around 20 people stands in the darkened space, watching the woman.
A young woman, wearing work pants and work boots, dances on the soil-covered floor of an old, brick industrial building. The woman is holding a steel scaffolding structure. An audience of around 20 people stands in the darkened space, watching the woman.
Ivey Wawn

Ivey Wawn

born 1990 in Sydney, Australia
lives and works in Sydney, Australia

 

Ivey Wawn with Ivan Cheng, Eugene Choi, Daniel Jenatsch and Taree Sansbury
Surfacing, 2019
Performance within Absorption
Thursday 9 May 2019, 7pm
Photographs by Jacquie Manning

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artists and Kaldor Public Art Projects

Ivey Wawn is an independent artist working between Sydney and Melbourne. Her practice emerges from dance into the choreographic, dealing with systems to build live performance situations for a range of contexts. Her work has been shown at Underbelly Arts Festival, Firstdraft Gallery and at RMIT Design Hub among others. She was recipient of the DanceWEB Scholarship in 2016, a Responsive Residency through Critical Path in 2018, and the 2019 Performance Space Experimental Choreography Residency. Ivey is a student of Political Economy at the University of Sydney and also sells her labour as a waiter between projects.

Photo: Freya Ludowici
]]> Khaled Sabsabi https://kaldorartprojects.org.au/profile/khaled-sabsabi/ Tue, 23 Feb 2021 02:13:26 +0000 https://kaldorartprojects.org.au/?p=1125

Khaled Sabsabi

The soil underside of a square of turf, laid on a concrete floor surface.
A square of turf, laid on the tiled floor of a 1970s era workplace kitchen.
The soil undersides of around 16 squares of turf, laid across the concrete floor of an old industrial building.
Khaled Sabsabi

Khaled Sabsabi

born 1965 in Tripoli, Lebanon
lives and works in Sydney, Australia

 

Unseen, 2019
Kikuyu turf and 20 acrylic/watercolour on photographic paper works
Photographs by Michael Waite

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist, Kaldor Public Art Projects and Milani Gallery, Brisbane

Khaled Sabsabi’s process involves working across art mediums, geographical borders and cultures to create immersive and engaging art experiences. He sees art as an effective tool to communicate with people through a familiar language. Sabsabi makes work that questions rationales and complexities of nationhood, identity and change. His practice speaks to audiences in ways that enlighten our understanding of universal dynamics, which are more complex and ultimately more unknowable than our own selves.

]]> Jana Hawkins-Andersen https://kaldorartprojects.org.au/profile/jana-hawkins-andersen/ Tue, 23 Feb 2021 02:12:30 +0000 https://kaldorartprojects.org.au/?p=1122

Jana Hawkins-Andersen

Seven plaster casts of leeches lying on a soil surface. The casts are white. Three are dusted with yellow copper oxide.
Seven plaster casts of leeches lying on a soil surface. The casts are white. Three are dusted with yellow copper oxide.
A young woman, wearing work boots, sits on a milk crate in an old industrial space. In front of the woman are seven plaster moulds, a bucket full of white paste, and four yellow funnels. The woman is holding a yellow funnel above one of the plaster moulds.
Jana Hawkins-Andersen

Jana Hawkins-Andersen

born 1989 in Sydney, Australia
lives and works in Sydney, Australia

 

Swell, 2019
Handmade plaster moulds, objects prepared and poured by Cultivators within Absorption
Plaster, clay, copper oxide, iron ore oxide, phosphate
dimensions variable
Photographs by Pedro Greig

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist and Kaldor Public Art Projects

Jana Hawkins-Andersen is an artist based in Sydney, working in sculpture and ceramics. Through arrangements that display impact, touch and absorption between materials, her work focuses on a politics of intimacy and care. Presented as co-dependent, parasitic installations, the work considers the entangled experiences of care and trespass and examines the viewer’s relationship to complicated objects that contaminate and disrupt. Jana completed her MFA at UNSW Art & Design in 2018 and was a co-director at Firstdraft, Sydney, from 2017-2018.

]]> Agatha Gothe-Snape https://kaldorartprojects.org.au/profile/agatha-gothe-snape/ Tue, 23 Feb 2021 02:11:08 +0000 https://kaldorartprojects.org.au/?p=1119

Agatha Gothe-Snape

A woman, wearing a silver reflective vest, digs with a pitchfork into soil, which is laid across the floor of an old, brick industrial building.
A young man and an older woman, both wearing silver reflective vests, sit on milk crates inside an old brick building. The floor of the space is entirely covered in soil. The man is tipping a small squeeze bottle over a small sample of soil on a milkcrate.
Four silver reflective vests, lined with 1970s patterned fabrics, hang on coathangers on a clothes rack inside a bare room. The floor of the space is entirely covered in soil.
Agatha Gothe-Snape

Agatha Gothe-Snape

born 1980 in Sydney, Australia
lives and works in Sydney, Australia

 

Discrete Relations/Discreet Relations, 2019
16 fashion utility jackets made from light–reflective perforated fabric lined with John Kaldor Fabricmaker remnants. Costume consultant, garment construction design and pattern making by Leah Giblin; Sewing by Leah Giblin and Lynette Robertson
Photographs by Pedro Greig

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist, Kaldor Public Art Projects and The Commercial Gallery, Sydney

Agatha Gothe-Snape works at the threshold of visual arts and performance. She has a highly trained and deeply attuned understanding of performance strategies and how they intersect not only with the visual but with the relational and architectural. As a result, her works are singular, embracing the complexity, ambiguity and slippages of both performance and language in an aesthetic style that is questioning, poetic, and political.

Gothe-Snape has exhibited in major international biennales including the Gwangju Biennale, South Korea, 2018, 20th Biennale of Sydney, 2016, PERFORMA, New York, 2015, and the 8th Berlin Biennale for Contemporary Art, 2014. In 2017, she presented a solo exhibition at the Mori Art Museum, Tokyo. She has exhibited widely in Australia at artist-run spaces, state-funded institutions, and museums. Her work is held in major collections across Australia. Gothe-Snape is actively involved in Wrong Solo, a collaborative performance group that she began in 2006 with fellow Sydney artist Brian Fuata. She also has a long-standing collaboration with choreographer and dancer Brooke Stamp, as well as artist Sarah Rodigari, and dancer and choreographer Lizzie Thomson.

]]> Brian Fuata https://kaldorartprojects.org.au/profile/brian-fuata/ Tue, 23 Feb 2021 02:04:50 +0000 https://kaldorartprojects.org.au/?p=1116

Brian Fuata

The legs of a man, dressed in white, standing by a rough wooden bench in a tiny, old brick room. On the bench are a small video monitor, microphone, mobile phone, audio mixing desk and cables.
A man, dressed in white, speaking intently into a microphone, in a tiny, old brick room. On the wall are black-and-white graphic posters with excerpts of text.
A man, dressed in white, speaking intently into a microphone, in a tiny, old brick room. On the wall are black-and-white graphic posters with excerpts of text.
Brian Fuata

Brian Fuata

born 1978 in Wellington, New Zealand
lives and works in Sydney, Australia

 

ARMS / Ums—a ghost improvisation for a new soil, 2019
Vocal sounds for a triangle / vocal sounds for a rectangle
Sound assistance: Andrew McLelland; Printed design: Ella Sutherland; Voice coaching: Sonya Holowell;
Photographs by Pedro Greig

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist and Kaldor Public Art Projects

Brian Fuata works in performance through live and mediated forms. He employs various modes of presentation within the framework of structured-improvisation. In Fuata’s works, the act of viewing is a reciprocating action between artist and audience and audience with each other. Fuata employs the “blank sheet” as a recurring motif in his work, which transforms with different contexts into emails, paper, Word.Doc, google.doc, SMS text, concrete, film, and in the case of his 20-minute ghost performances, a white bedsheet.

Solo works include Care disfigurements (flowers), Art Central Hong Kong Art Fair, 2019; Placeholder, Enjoy Gallery, Christchurch, 2016; A predictive/preparatory performance for a circuit of email and the living, Performa Biennial, New York, 2015; Untitled (ghost machinery refit/letting go of the sheet), Chisenhale Gallery, London, 2015; Close to the knives (one to five) email performances, for Endless Circulation, Tarrawarra Biennale, Tarrawarra, 2016; FIFO Ghost, Liquid Architecture at the National Gallery Victoria, Melbourne, 2015; Apparitional Charlatan...for 24FramesPerSecond, Carriageworks, 2016; Privilege (performance), Museum of Contemporary Art Australia, Sydney, 2015; Points of Departure: one to three, email performance, Australian Centre for Contemporary Art, Melbourne, 2014.

]]> Dean Cross https://kaldorartprojects.org.au/profile/dean-cross/ Tue, 23 Feb 2021 02:03:17 +0000 https://kaldorartprojects.org.au/?p=1113

Dean Cross

A young man crouches and pours a small bag of sand onto the soil-covered floor of an old industrial building.
A small pile of sand on the soil.
A small pile of sand on the soil-covered floor of an old industrial building.
Dean Cross

Dean Cross

born 1986 in Canberra, Australia
Worimi, South-East region
lives and works in Canberra and Sydney, Australia

 

1kg of Earth from 1000kms Away, 2019
Installation
Photographs by Pedro Greig

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist and Kaldor Public Art Projects

Dean Cross was born and raised on Ngunnawal/Ngambri Country and is of Worimi descent. He is a trans-disciplinary artist primarily working across installation, sculpture, and photography. His career began in contemporary dance, performing and choreographing nationally and internationally for over a decade with Australia’s leading dance companies. Following that Dean re-trained as a visual artist, gaining his Bachelor’s Degree from Sydney College of the Arts, and his First Class Honours from ANU School of Art and Design. In 2019, Dean will undertake the inaugural Canberra/Wellington Indigenous Artist exchange, where he will be supported by the ACT Government to undertake research with the National War Memorials in both Canberra and Wellington.

Photo: Janelle Evans
]]> Megan Alice Clune https://kaldorartprojects.org.au/profile/megan-alice-clune/ Tue, 23 Feb 2021 02:02:27 +0000 https://kaldorartprojects.org.au/?p=1110

Megan Alice Clune

A young woman, wearing headphones, sits on a milk crate, next to a small wooden box. The woman is smiling, in conversation with a second young woman standing nearby, inside an old industrial building, with the floor entirely covered in soil.
A young woman, wearing headphones, smiling and looking downwards, stands inside an old industrial building.
A young woman, wearing headphones, stands, in an old industrial building. A young man crouches nearby. The young people are leaning, looking downwards, at a small timber box, inside an old industrial building, with the floor entirely covered in soil.
Megan Alice Clune

Megan Alice Clune

born 1986 in Sydney, Australia
lives and works in Sydney, Australia

 

Soil Music, 2019
Responsive sound piece
Three objects each measuring 16.5 x 26.5 x 11.5 cm
Photographs by Pedro Greig

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist and Kaldor Public Art Projects

Megan Alice Clune shifts between musician, composer and artist. Primarily, her work consists of a dissection of musical elements and contexts through verbal or text-based scores, sound installation, and collaboration. Megan has presented work and undertaken residencies across Australia, Europe and North America, including the Bang on a Can Summer Music Festival (MASS MoCA), Underbelly Arts, Next Wave Festival, Performa 15 (New York) and Vivid Live at the Sydney Opera House.

]]> Chun Yin Rainbow Chan https://kaldorartprojects.org.au/profile/chun-yin-rainbow-chan/ Tue, 23 Feb 2021 02:01:03 +0000 https://kaldorartprojects.org.au/?p=1107

Chun Yin Rainbow Chan

A young woman sings into a microphone, lit by blue light, in a darkened, old industrial building. The floor of the space is entirely covered in soil. A small audience of around 60 people watches.
A young woman sings into a microphone, lit by blue light, in a darkened, old industrial building. The floor of the space is entirely covered in soil. A small audience of around 60 people watches.
A young woman sings into a microphone, lit by blue light, in a darkened, old industrial building. The floor of the space is entirely covered in soil. A small audience of around 60 people watches.
Chun Yin Rainbow Chan

Chun Yin Rainbow Chan

born 1990 in Hong Kong
lives and works in Sydney, Australia

 

Pop performance within Absorption
Thursday 9 May, 8pm
Photographs by Jacquie Manning

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist, Kaldor Public Art Projects and Vita Music Group

Chun Yin Rainbow Chan works across music, performance, and installation. Born in Hong Kong and raised in Sydney, Rainbow is interested in mistranslations, diaspora and the effects of globalisation on modern Chinese society. Melding bubbly, textured soundscapes and off-kilter electronics with her pop sensibilities, Rainbow’s songs consistently evolve to reflect of her changing ties to desire, memory and space.

Photo: Jonno Revanche
]]> Daniel Boyd https://kaldorartprojects.org.au/profile/daniel-boyd/ Tue, 23 Feb 2021 02:00:09 +0000 https://kaldorartprojects.org.au/?p=1104

Daniel Boyd

A man in a silver reflective vest digs with a pitchfork into thick soil, which covers the floor of an old brick, industrial building. In the wall of the building is a row of windows. The glass of the windows is covered in black vinyl, with hundreds of small perforated holes, arranged in a pattern.
Four windows in an old, brick industrial building. The glass of the windows covered in black vinyl, with hundreds of small perforated holes, arranged in a pattern. The floor of the building is entirely covered in a thick layer of soil.
Two windows in an old, brick industrial building. The glass of the windows covered in black vinyl, with hundreds of small perforated holes, arranged in a pattern.
Daniel Boyd

Daniel Boyd

born 1982 in Cairns, Australia
Kudjla/Gangalu, North-East region
lives and works in Cairns, Australia

 

Untitled (-33.894728, 151.189099), 2019
Window installation, adhesive vinyl on glass
23 panels
Photographs by Pedro Greig

 

Commissioned as part of Kaldor Public Art Project 34, Asad Raza, Absorption, The Clothing Store, Carriageworks, Sydney, 3–19 May 2019
Images courtesy the artist, Kaldor Public Art Projects and Roslyn Oxley9 Gallery, Sydney

Daniel Boyd’s practice is internationally recognized for its manifold engagement with the colonial history of the Australia-Pacific region. Dynamic historical compositions are revealed only through the hundreds of pixelated “lenses“ applied to the canvas. These lenses allow us to look at the spaces between them thus highlighting the liminal space between black and white, the “other“ and the “enlightened“. Boyd has both Aboriginal and Pacific Islander heritage and his work traces this cultural and visual ancestry in relation to the broader history of Western art.

Boyd has been exhibiting in numerous solo and group exhibitions in Australia and overseas since 2005. Boyd was recently included in Adelaide Biennial of Australian Art: Divided Worlds, 2018, and the travelling exhibition 3rd National Indigenous Art Triennial: Defying Empire, National Gallery of Australia, Canberra, 2018. He has held solo exhibitions at the Institute of Modern Art, Brisbane, 2016, Artspace, Sydney, 2013, and at the Natural History Museum, London, 2012. Boyd’s paintings are held in major public collections in Australia as well as notable international collections such as the Samdani Art Foundation, Dhaka, Bangladesh, and the Kadist Collection in Paris, France.

Photo: Liz Ham
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