‘Actions for Tomorrow’ Yangjiang Group

Chinese artist collective Yangjiang Group has brought their first solo exhibition to Australia in association with the Sydney Chinese New Year Festival this year: Actions For Tomorrow.

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Yangjiang Group are Zheng Guogu (b. 1970, Yangjiang, China), Chen Zaiyan (b. 1971, Yangchun, China) and Sun Qinglin (b. 1974, Yangjiang, China). Founded in 2002 the group name themselves after their home town, a city in Guangdong province, where their principle studio is located.

The exhibition will be open from 17 January – 7 March 2015. So get in quick!

Word Travels Festival – Push – Rocks Walk – Stories

Madelaine Lucas performing.

Madelaine Lucas performing.

Push – Rocks Walk – Stories was held on the 12th and 13th of October as part of the Word Travels Festival. The tour, presented by Penguin Plays Rough, involved audience members being led throughout The Rocks to find writers hiding in nooks and crannies, ready with words.

A medley of literary delights were on offer with readings made by Patrick Lenton, Cait Harris, Phil Spencer and Madelaine Lucas. First to be discovered on my guided tour was actor Libby Ahearn who performed a whimsical parody of Sydney socialites, written by Cait Harris.

After a short walk through the markets, it was Phil Spencer who entertained us next with the tale of his first, last and only shift working in a bar in The Rocks.

After a walk through a windy tunnel we were given the privilege of seeing Madelaine Lucas perform. Accompanied by soft mesmeric guitar, Lucas spoke in a breathy voice of heartbreak and poetic memory, the wind only heightening the experience.

To round off the tour, Patrick Lenton told us a humorous tale of survival in Australia. The entire event was exciting and unique. The readings were filled with distinctly Australian voices, and exposed the public to the literary talent of a new generation of writers.

Art and About – ‘I Think I Can’ Review


I Think I Can places a thoroughly modern concept: avatars, onto a nostalgic frame. The interactive artwork, being exhibited as part of the Art and About Sydney Festival, allows individuals to create avatars that live and interact in a large scale model railway named Springfield Junction.

Taking it’s name from popular children’s book The Little Engine That Could’, I Think I Can focuses on creation and storytelling. The work is the brainchild of Terrapin Puppet Theatre artistic director Sam Routledge and artist Martyn Coutts and is presented by Performance Space and Art and About Sydney.

I found I Think I Can at the Central Station Concourse on the opening night of Art and About Sydney, and quickly decided I wanted to experience it. After an informative chat with a volunteer I decided that I would get an avatar. The first step was a personality test. Then I was presented with a selection of different avatars that I could choose from. I chose an ‘Activist’. Other avatars that you could be assigned included the Queen, a vandal, a reality TV star, or President Obama.

I Think I Can

My ‘I Think I Can’ Passport and my selected avatar.

The next step was figuring out where he would be placed in Springfield Junction. I decided my little man should be hanging by the abattoir. Next his back story had to be established. I decided the activist was visiting friends who work at the abattoir and coming for a spot of protesting. The guy, let’s call him Ned, had decided to protest at the abattoir because he had found an embryo in a can from the factory. He’d only been an activist for about a week. This back story was recorded in an iPad.

My tiny avatar was then animated by a puppeteer and broadcast live onto a screen above the model town.


The puppeteer animates the Activist.


The Activist has become part of Springfield Junction.

I have been told that each time I come back I can change what my activist is up to and I can follow his adventures if he pops up in the ‘I Think I Can Times’: an online publication of the scandals and news of Springfield Junction.

I enjoyed the artwork on many levels. On one level, the process evoked nostalgia of model train stations and made me appreciate the enormous capacity we have as children to create fictional worlds. This element allows the work to be family friendly, it’s great for kids and it’s cheap (free to participate)!  On another level, I enjoyed the art work for all statements that it was making. I Think I Can made me consider how much we try escape our own lives through building hyperreal (often better) versions of ourselves, and our lives. I Think I Can felt like a tangible version of Second Life that was framed in a nostalgic way, making such virtual worlds that are traditionally seen as strange and deviant, playful and natural. It made me realise that this identification with a character is something that we are drawn to even as children.

What statements do you think I Think I Can is making?

Springfield Junction

Little avatars hard at work.


Springfield Junction is a hot bed of activity.

An Interview with artist Susan Pickering

Sue Pickering is a Hobart based artist and musician. While visiting Tasmania I talked to her about her inspirations, living in Hobart and her upcoming exhibition ‘Light Lines’.

Sue Pickering in her studio.

Susan Pickering in her studio.

When formulating new work what is your process for generating new ideas? Do you look at work by your favourite artists? Do you take inspiration from the natural environment or do the ideas just come?

A little bit of all of those. A lot of my work started out being inspired by music. But over the years it’s fed on itself a little bit. Often a new work will come out of an idea from an old work, a visual idea. But certainly the natural environment in Tasmania is inspirational.

While my work is bordering on abstract, somewhere between abstract and figurative, there’s a musical quality to them. They are not so much descriptive of things, as of ideas.

You’re a highly accomplished musician. Do you feel that your musical talents feed into your art making or are they separated in your mind?

The music itself, not my music but other people’s music that I have experienced as a musician or a listener, feeds into my art making.

You have a beautiful studio. Thank you for letting me see it. What attracted you to this studio?

This studio is here by the generosity of Veronica Stein, who lives in the house upstairs. When she was at art school she had enough time, being a part time student, to think about what to do after art school. She was going to build a tin shed in her backyard and discovered that it was going to cost a lot of money. It was better to put that money towards an extension of the house, that she and her partner Mike live in, and put a studio underneath the living area of the house.

Then she instigated a few other people to come together and share facilities. We went around to second hand shops and bought shelves. She made the sinks. I applied for a group grant to buy a big etching press and we were successful. We got most of the money for that, Veronica and I contributed the rest. So officially that press is owned by six people, but in effect I am the main one using it now. The others just use it when they need to produce big work.

Veronica and I jointly bought this great big old Albion style relief press, which would have been a letter press, or something that they printed wanted posters with. We bought it second hand from somebody who brought it back from the United States.

View from the Studio where Sue works.

View from the Studio.

Some of the equipment in Sue's studio.

The Albion style relief press that originated in America.

Is there any thing you particularly enjoy about the studio?

The natural environment of the studio is wonderful. Just the fact that I have the studio and the equipment.

On September 5th you have an exhibition coming up at 146 Artspace. What can we expect from this exhibition? Will it be very different from your other work or a continuation of a similar theme or style?

It be will be a development out of the other work. It’s moving more to the figurative with a couple of prints that look more like landscape then the previous ones have.

Sue's studio.

Susan’s studio.

The original plan for this work was that it was going to have an exploration using colour. I’m hoping there will be a little bit more of that [exploration of using colour] that is not extremely subtle. But given the time constraints, since I haven’t been well for the last nine months, I’ve just had to go for it and get some work done initially anyway. The colour will develop after the exhibition. The purpose of life is not just to produce art for an exhibition, it’s to produce art.

Do you feel like the Hobart landscape has influenced your work?

Not Hobart, but the Tasmanian landscape. This exhibition was inspired very much by a residency last year at Lake St Claire in the mountains. And that was a follow on from a previous residency in 2005.


I’ll even include one work that, though completed much more recently, was inspired by the 2005 residency.

Any advice for artists starting out?

Make sure you’re making art because you want to make art. If you are not making it because it is important to you and you’re not making things that are meaningful for you and the activity isn’t meaningful for you, then there is not much point doing it.

A work to be featured as part of Sue's exhibition 'Light Lines'

A work to be featured as part of Susan’s exhibition ‘Light Lines’

Susan’s exhibition Light Lines will be opened by Raymond Arnold at 5:30 pm Friday, the 6th of September, at the 146 Artspace, Hobart. It will remain open until the 3rd of October. The residency and work was funded by Arts Tasmania.


Picture 1000 Words

This September my writing will be exhibited in photo-literary collaboration PICTURE 1000 WORDS. The exhibition, which explores the power of images to inspire written creativity, will be exhibited from the 2nd to the 29th of September at the City Library Gallery, Melbourne.

Fascinated by the varying interpretations that people often make of his images, documentary and travel photographer Cam Cope decided to conduct an experiment: to see what happens when authors are invited to respond to his photographs in writing. Playing on the old adage ‘a picture paints a thousand words’, Cam Cope asked each author to respond to a collection of enigmatic photographs from around the world.

None of the writers were told the real world origins of the photos and our imaginations were left to fill in the details (I still do not know where my picture was taken). Each story had to be penned to an exact 1000 word count for authenticity. Which is a detail that I respect but found hard to complete. It was an exciting process to be part of that began back in 2012. My story ‘South Beach’, that will be included, inspired the longer ‘Home’ published in the UTS Anthology.

The exhibition will feature thirteen large print photographs by Cam Cope, paired with thirteen one-thousand-word short stories written by Alice Allan, Andrew Bitfield, Jessie Cole, Rijn Collins, Brett Hamm, Kate Hennessy, Mary- anne Khan, Louise Nicholls, Ashley Orr, Holly Ringland, Luke Wright, Aisling Smith and me.

A short story anthology / photo book of Picture 1000 Words will be launched concurrently to the exhibition in September and be available for order at http://www.camcope.com. All prints are limited edition and available for sale.

Over the next few weeks I will be releasing extracts from the exhibition and hopefully more things along the same vein. Please come along to the opening night! You can RSVP here.

Also check out Cam Cope’s awesome blog: www.camcope.wordpress.com .
Picture 1000 Words

Exhibition Dates: 2 – 29 September 2013
Opening Celebration: Thursday September 5th 5.00pm to 7.00pm
Venue: The Gallery @ City Library 253 Flinders Lane, Melbourne
Opening Hours: Monday – Thursday 8am – 7.45pm, Friday 8am – 5.45pm, Saturday 10am – 4.45pm, Sunday 12pm – 4.45pm (closed public holidays).

CONTACT Cam Cope for more info, images or interview opportunities on contact@camcope.com or 0400 565 558