Tracey Clement is an artist and freelance writer. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture.
The French phrase trompe l’oeil literally translates to ’trick the eye’ and, over the years, this kind of painting has come to seem a bit kitsch.
In the first of a new series of feature articles, we’ve brought together artists and writers who share an interest (besides art). Artist Jon Cattapan sat down with writer Tracey Clement to discuss JG Ballard’s novel The Drowned World and the importance of bearing witness.
Nick Cave is known for his Soundsuits. These elaborate costumes are an idiosyncratic mix of haute couture and politics: they respond to racial tensions and inequities by both obscuring and celebrating racial identity with beads and bling.
For the last 30 years, artists David Jensz and Wendy Teakel have lived together and shared a studio.
Ariel Hassan’s works are a vortex that spins together his philosophical, literary and political concerns, destroying, rearranging and reconfiguring them.
In After Voices, Kuswidananto used animatronics, sound, video and sculpture to create a ghostly protest procession that had a distinctly theatrical edge.
Tracey Clement chatted to Nell about AC/DC, spirituality and death while the artist was installing her major survey show at the Shepparton Art Museum (SAM).
Robyn Stacey’s multilayered, colour-saturated images are created without digital manipulation.
Congratulations to Swiss jeweller David Bielander for winning the 2016 Mari Funaki Award for Contemporary Jewellery.
Opportunity beckons at the Murray Art Museum Albury for local Jo Davenport’s expressive, layered and shifting paintings.
As titles go, Genesis of a Painter: Guy Warren at 95 is pretty literal. The exhibition, which was curated by Barry Pearce, former curator of Australian art at the Art Gallery of NSW, spanned Warren’s entire career, right up to 2015.
A major focus of Parr’s practice over the last four decades has been the collection of information, artists’ ephemera and documentation of experimental practitioners, both international and Australian.
