Marcia Espinosa, Shrine for Dream Vacation ... 2014. Photo by Acorn PhotoArtsource Industry Awards 2016

Artsource has partnered with artist-run gallery and co-working space, Paper Mountain, to award Western Australian graduate winners of the Artsource Industry Award 2016 with a three-month studio residency.
 
For over ten years, the most industry-ready visual arts graduate from the art faculties of Curtin University, Edith Cowan University (ECU), North Metropolitan (TAFE) and the University of Western Australia (UWA), has been awarded a year-long professional membership with Artsource upon winning the award.

For the first time, they will also receive a three-month studio residency and participate in a group exhibition at Paper Mountain in 2017.

Congratulations to

  • UWA winner: Jessica Hart. Nominees: Edward (Ned) Reilly, Lilli Foskett.
  • ECU winner: Matthew Pope. Nominees: Reija Thomas, Nikky Lundy.
  • North Metro TAFE winner: Lukas Mack. Nominees: Ruby-Rose Patricia Doneo and Georgia Sherwood.
  • Curtin University winner: Chantelle Crupi. Nominees: Aliya Kamiya and Sophie Nixon.

Previous recipients include Artsource Studio and CowParade PERTH 2016 artist, Marcia Espinosa.

The four award recipients are selected by each institution’s faculty and were announced at the opening of the graduate exhibitions.

AWARD PARTNER


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Congratulations award winners

Jessica Hart, 1829, 2016. Artsource Insdustry Award 2016 winner.

University of Western Australia


Winner: Jessica Hart

Nominees: Edward (Ned) Reilly and Lilli Foskett.


This piece was created to represent the British invasion of Western Australia, beginning in 1829 with the settlement of the Swan River Colony. The idea was to produce a work that brought about a discussion of the hidden history of Australia, with specific reference to the expansion of the Swan River Colony, which later became the state of Western Australia.

187 cast plaster boxes illustrate the whitewashing of our past, since the colony was formed in 1829. Using rocks collected from various towns across WA, the audience are encouraged to break open the boxes, literally exposing the lands claimed by the British colony. All sand has been sourced from multiple towns throughout Western Australia. IMAGE: Jessica Hart, 1829, 2016.

 

Matthew Pope, some rocks have hearts, 2016. Photographer: Paul GodfreyEDITH COWAN UNIVERSITY



Winner: Matthew Pope

Nominees: Reija Thomas, Nikky Lundy




Mergence is a collection of works by multidisciplinary artist, Matthew Pope. The works explore the connection between humans and nature as well as merging both organisms together. Using sculpture, installation and video art Mergence invites the viewer to interact, experience and look closely at our relationship with the environment, physically, emotionally and sexually. IMAGE: Matthew Pope, some rocks have hearts, 2016.


 

Lukas Mack, Show Muscles, 2016. Image courtesy of the artistNorth Metro TAFE


Winner: Lukas Mack

Nominees: Ruby-Rose Patricia Doneo and Georgia Sherwood.

The recent works of Lukas Mack examine notions of contemporary masculinity and the collision between seeking authentic self-expression and the specious need to conform. Mack’s material exploration traverses the realms of sculpture, digital, handcrafts and beyond. This work, Show Muscles, reproduces a full-scale gym bench-press from a kilometer of clear packaging tape to encourage viewers to consider the transparency and fragility of the archetypal physically strong masculine ideal. IMAGE: Lukas Mack, Show Muscles, 2016.


 

Chantelle Crupi, Chicken, 2016. Image courtesy of the artist.curtin university

Winner: Chantelle Crupi

Nominees: Aliya Kamiya and Sophie Nixon.

My practice investigates the evolution of terminology in the LGBT+ community, attempting to ascertain its purpose in a modern context. As a gay woman I frequently question what separates the LGBT+ community from a heteronormative society. The most notable experience I had when learning about queer culture was the shock of how much language there was to sort through and make sense of. I find the vernacular specific to gay culture that is used to sort us by physical traits or sexual behaviour absurd, and while being aware of its place in history I feel its relevance has disintegrated.

I attempt to educate others of this somewhat underground dialogue that is only expressed on social media or dating apps. My work is predominantly sculptural, they are quirky, humorous explorations of this language. They aim to generate conversation and to reflect the nonsensical nature of the vernacular itself. They are intentionally hand-made to extend the commentary of the community that has been built by the people within it. IMAGE: Chantelle Crupi, Chicken, 2016. Materials: Paper mache, glitter, aluminium tray. Dimensions: 31cm x 26cm x 17cm (length x width x height).