Anna Dunnill is an artist and a writer based in Naarm (Melbourne). She works with textiles, ceramics and tattoo. Anna is also one half of collaborative duo Snapcat.
What drives artists to devote entire careers to perfecting techniques, pushing mediums, expanding material processes?
When British designer Mary Quant led a 1960s fashion revolution, she would forever change how women dressed.
Through the characters Sox and Yow, artist duo Astro Morphs create videos that are equally cosmological and biological.
After being closed for several years, the Western Australian Museum has reopened with a new name, Boola Bardip, and a renewed focus on a deeper understanding of Indigenous knowledge.
Whether filming her parents, making casts of precious family objects, or screen printing her mother’s hummus recipe onto a stack of Bunnings rugs, Lara Chamas’s work resonates with humour, warmth and tenderness.
The intricate art of lace-making might bring to mind your grandmother’s tea-table, but it’s long been used to tell grand tales of war and passion, gods and kings.
Weaving is synonymous with world-making. In numerous cultures, the loom is a metaphor for creation; a person’s life often represented by a spun thread.
The Blade explores the Australian history of lawn from kangaroo grass to the footy field; the scythe to the electric mower; the suburban Hills Hoist to the sweeping verdure of state buildings.
Building on traditional knowledge and aesthetics, John Mawurndjul has established a thoroughly contemporary practice.
“How good can we get something to look, that’s got no value, really?” says artist Natalie Thomas. “I use $2 shop paint generally. I just look around at what I’ve got access to and use it, see how good I can get it.”
Anna Louise Richardson’s documentations of rural farm life also function as memento mori: allegories of mortality, of existential dread.
