The opportunity to work with Brett Dean was a long time in the making. I’ve always been a big admirer of Brett’s, both as an instrumentalist and composer. Back in 2011 when I was studying viola at university a friend introduced me to Brett’s wife Heather at interval of a concert that included Brett playing his viola concerto, and we got chatting and I mentioned that I was performing Brett’s work Intimate Decisions for solo viola in a few weeks. Brett caught wind of this and about a week later I found myself at his house in Melbourne, and for a few hours we worked on the piece.
Located in a converted school in the countryside three hours north of Helsinki, the Arteles Creative Residency Program brings together international artists to focus exclusively on their creative practice in a supportive and communal environment. Four past grantees, working in visual arts, music, media and literature, have participated in the program, most recently 2018 grantee and writer Peter Walsh.
Animal Alone observes the artist as both animal and prisoner, held captive by the structures in which they form and are formed. Prioritising transparency, independence and a surrendering to desire, this project continues my enquiry into the accessibility of intimacy in an increasingly individualistic world.
I first met Carol Yinghua Lu at the University of Melbourne in 2016, when I helped organise and facilitate the first session of Asian Art Dialogue, now consistently programmed at the university. As a young academic and creative, it was important for me to hear and learn from her those years ago, so I made the effort to stay in touch until the opportunity arose to collaborate.
Stephanie Fynn is an artist and designer whose current design practice centres on developing interactive projection artworks for people of all abilities. With the support of The Cultural Trust, Stephanie will attend a series of five workshops at the Copenhagen Institute of Interaction Design, Denmark, with a focus on people-centred, accessible and inclusive design.
Last year soprano and 2017 grantee Georgia Wilkinson undertook a series of vocal tuition and mentoring opportunities in both London and New York with the support of The Cultural Trust. Here she writes about her experience and what it has made possible since her return to Australia.
Screen composer and new grantee Angela Little is destined for big things. With nine years of professional experience composing for film, documentary and television, she is ready to take her practice to the next level, by exploring new directions in screen music and working towards her goal of becoming a lead composer on internationally recognised projects.
Since presenting at her first international conference in Maine and undertaking a residency at The Wassaic Project, New York, 2016 grantee Georgia Saxelby has established herself in the U.S. as an artist to be reckoned with. She wrote to us from Washington DC about the ethos behind her project To Future Women, which memorialises last year’s historic Women’s March and has received widespread acclaim.
In the depths of Neukölln- a suburb in West Berlin inhabited by Germans, artists and Turkish families- is an abandoned children’s hospital. I used to live nearby and became fascinated with photographing the two buildings.
My tour began in Los Angeles where I had arranged a studio visit with F. Scott Hess—one of America’s preeminent realist painters, well known for his complex, narrative figurative paintings.