the churchie 2022
-Artists: Darcey Bella Arnold (VIC), Emma Buswell (WA), Jo Chew (TAS), Kevin Diallo (NSW), Norton Fredericks (QLD), Jan Griffiths (WA), Jacquie Meng (ACT), Daniel Sherington (QLD), Linda Sok (NSW), Lillian Whitaker (QLD), Agus Wijaya (NSW), and Emmaline Zanelli (SA).
Curated by Elena Dias-Jayasinha
Cast your vote in the People's Choice Award via the VOTE HERE button below.
Read more about the churchie emerging art prize 2022 here.
Gallery 1
1 |
Lillian Whitaker
Mutualisms, 2022, beeswax sculptures on hex-plywood plinths, dimensions variable. |
2 |
Norton Fredericks
Identity Landscape, 2022, wood felt, silk, flax, botanical dyes, series of 3, (1) 164 x 188cm, (2 & 3) 45 x 195cm. |
3 |
Daniel Sherington
untitled (bullshit interior décor_v3, 2022, uv inkjet print on synthetic polymer resin, backlit with IKEA strip lighting and mounted on IKEA wall hooks, 70 x 80 x 8.5cm. |
4 |
Jo Chew
From the walking house series: Tenderly, 2022, oil on canvas, 137 x 107cm. Moving, 2019, oil on canvas, 91.5 x 91.5cm. Strangers, 2022, oil on canvas, 122 x 122cm. For the dreamer, 2020, oil on canvas, 61 x 86.5cm. |
Gallery 2
5 |
Jacquie Meng
spinning the coins of destiny while the devils play, 2021, oil on canvas, 100 x 140cm. in my room there are no rules, windows breathe fire and the floor dreams of water, 2021, oil on canvas, 77 x 122cm. somewhere in between worlds I am driving my truck and riding my horse, 2022, oil on canvas, 110 x 88cm. |
6 |
Darcey Bella Arnold
Ceci n’est pas une orange, 2022, oil on cotton duck, 80 x 90cm. Saffron, 2022, acrylic on cotton duck, 150 x 200cm, with American red oak stand (totaling 227 x 210 x 60cm). |
7 |
Emma Buswell
After Arachne, 2020, wool yarn, metallic thread, hand knitted cardigan, beanie, and handmade counterfeit Gucci cardigan. |
8 |
Linda Sok
Salt Water Deluge (Tucoerah River), 2021, Cambodian silk, water collected from Georges River, salt, rattan, 210 x 330 x 80cm. The water used in this work was collected with permission from Darug Elders. |
9 |
Agus Wijaya
Jejadian, 2022, mixed media installation, dimensions variable. Procession, 2020, archival pigment printed on art canvas and mixed media, mounted on perspex, 86.2 x 142.4cm. Taksakala, 2021, archival pigment printed on art canvas and mixed media, mounted on perspex, 43.1 x 71.2cm. |
10 |
Kevin Diallo
From the Ode To Zouglou series: Zigbo, 2021, acrylic paint on pigment printed cotton canvas, 63 x 90cm. Au Maquis, 2021, acrylic paint on pigment printed cotton canvas, 63 x 90cm. Mouho, 2021, acrylic paint on pigment printed cotton canvas, 63 x 90cm. Botcho, 2021, acrylic paint on pigment printed cotton canvas, 63 x 90cm. |
11 |
Jan Gunjaka Griffiths
History Beneath the Beauty, 2022, natural pigment on paper, porcelain with underglaze, glaze, 171 x 228 x 3cm. Courtesy Waringarri Aboriginal Arts. “Woorrilbem holds a history. A blast from my grandmother’s past. As a child she went to this billabong to collect the lily flowers—its bulb, mussels and other edible bush food—to take back to her family. One particular day on a usual walk she saw two strange men way off in the distance. A manager on horseback and a black tracker leading a donkey with a sack on its back. They were tracking Aboriginal, Miriwoong people to work for the manager at the station. As the men came closer, my grandmother slipped into the billabong to hide until the men were out of sight. My grandmother then got out and started running as fast as she could back to her family, but it was too late as the strange men were already approaching the camp. With mixed emotions my grandmother spoke and pointed at the same time to the strange men, but the black tracker spoke in Miriwoong language and said they were friendly people looking for workers to work at the station for sugar, tea and tobacco as rations and brought flour to make bread as a peace offering. Some Miriwoong people did go to work for the strange manager man. My grandmother and her family stayed on Country. If we don’t carry this story and tell our children the history of Woorrilbem and its beauty…my grandmother’s Country, will be lost and forgotten forever.” |
Screening Room
12 |
Emmaline Zanelli
Dynamic Drills, 2020-21, three-channel video, surround sound, 00:31:00. In a voiceover, Mila recites excerpts from Filippo Tommaso Marinetti’s Manifesto of Futurism (1909). Futurism was an early 20th century avantgarde movement that emphasised rapid progress and the technological triumph of humanity. Performing both futile and functional actions, Mila and Emmaline move between rejecting the Futurists’ mechanical dreams and somewhat fulfilling them. |