Fayen d’Evie, Troy McConnell, Sophie Takách and Prue Lang, […] {…} […] handovers + translations. Gertrude Glasshouse, Melbourne, 8 – 29 Oct 2016. Photo by Pippa Samaya.
Fayen d’Evie, Troy McConnell, Sophie Takách and Prue Lang, […] {…} […] handovers + translations. Gertrude Glasshouse, Melbourne, 8 – 29 Oct 2016. Photo by Pippa Samaya.
Fayen d’Evie and Katie West, Museum Incognita – Belgrade, When the Other Meets the Other Other, Cultural Centre, Belgrade, 27 May – 4 Jun 2017. Photo by Boris Burić.
Sophie Takách and Fayen d’Evie, with Janaleen Wolfe, Ben Phillips, Bryan Phillips and Pippa Samaya. From one body to another, Casula Powerhouse, Sydney, 29 Apr – 2 Jul 2017. Photo by Pippa Samaya.
Fayen d’Evie + Katie West, Boort Hands 2018, Carrying an invitation from Jida Gulpilil to care for sites and stories on Jarra Dja Dja Wurrung Yung Balug country. BLINDSIDE Summer Studio 2018. Installation detail. Photograph by Eliza Tiernan. Image courtesy the artists.
The work of artist Fayen d’Evie prompts us to consider how we encounter, describe, understand and create art. With her practice spanning writing, publishing, sound, performance and touch-based works, d’Evie explores questions of materiality, embodiment, knowledge and translation.
Having recently completed a summer residency at BLINDSIDE, d’Evie’s work is currently on display in the regional touring exhibition Seeing Voices, as well as the upcoming show Museum Incognita Beechworth: Blind Tommy at HM Prison.
She describes her work is marked by “an interest and curiosity about how we encounter the world, about how we understand it, about how we talk about it, about how we remember it; and that can be thought about through text, through recollection, through making, and not segregated silos of activity.”
While this involves many facets, in recent years d’Evie has focused on the position of blindness and the dominance of sight when encountering artworks. “I’ve always had low vision, ever since I was really tiny,” explains d’Evie. “A few years ago I came to a tipping point where I realised I was going to have to change a lot of things about art making; the kinds of sign engravings I’d been doing on paintings in stainless steel was not something I could really do and I started to question what my practice was going to be.”
d’Evie began to use this as a new space to operate within. “The notion of thinking about having a perceptual approach that is different to the ocular standard of 20/20 brings up fascinating questions in relation to artworks and even in relation to bigger questions about communication and translation,” says the artist.
As well as her various modes of practice, d’Evie also talks about the critical links between writing and contemporary art, how museums can be holders of stories rather than custodians of objects, and how her touch-based works can prompt new engagements with art.
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Museum Incognita Beechworth: Blind Tommy
Fayen d’Evie
HM Prison, Beechworth
16 – 18 February
Seeing Voices
Mildura Arts Centre
Live performance artist: Rosie Isaac
1 March – 2 April 2018
Cairns Regional Art Gallery
Live performance artist: Erik Bünger
27 April – 17 June 2018
Riddoch Art Gallery
Live performance artist: Sean Dockray
13 July – 16 September 2018
Bathurst Regional Gallery
Live performance artist: Hannah Donnelly
15 February – 7 April 2019
Devonport Regional Gallery
Live performance artist: Hannah Donnelly
1 May – 30 June 2019
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A quiet power pulses through It’s Always Been Always at Fremantle Arts Centre, where six First Nations women artists reflect on kinship, Country and cultural memory.
Under Sammy Hawker’s gentle guidance, whale song takes shape, ocean water becomes collaborator, salt crystals scatter themselves like stars across analogue film, and ashes murmur secrets onto silver nitrate-soaked paper. Through what she terms “facilitated acts of co-creation,” Hawker gives voice to places, materials, and the more-than-human world.
Wendy Sharpe’s expressive paintings incorporate social criticism and otherworldly dreamscapes, blending the real and imagined. With a current exhibition at Philip Bacon Galleries, she reflects on her three-decade practice and that iconic painting of Magda Szubanski.
Marru translates to “becoming visible” in Danie Mellor’s ancestral Dyirbal language (of Far North Queensland). In his current exhibition Danie Mellor: marru | the unseen visible at Queensland Art Gallery, the title reflects the work’s gentle ruminations on the complexities of the history of colonisation entwined with personal memories.
Step inside Remy Faint’s inner-city Sydney garage, where he meticulously constructs every element of his artworks—from wooden frames and sculpted fabric to striking, multilayered paintings in silk. Faint is now showing at the Rockhampton Museum of Art.
