Artsource Industry Awards 2018
Artsource has again partnered with artist-run gallery and co-working space, Paper Mountain, to award Western Australian graduate winners of the Artsource Industry Award 2018 with a three-month studio residency to be undertaken in 2019.
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. This is the third year they will also receive a three-month studio residency at Paper Mountain.
Previous Artsource Industry Award recipients include Artsource Studio and CowParade PERTH 2016 artist, Marcia Espinosa (image above).
IMAGE above: Marcia Espinosa, Shrine for Dream Vacation..., 2014. Photographer: Acorn Photo.
Artsource Industry Award 2017
UNIVERSITY OF WESTERN AUSTRALIA
Winner: Reegan Jackson
(Nominees: Rebecca Stanwell Wilson, Jillian Betterton)
This installation is composed from an array of materials and objects that are appropriated and structured to texturize environments that are part of an interconnecting environment, the digital spaces, natural organic landscapes, and developing human habitats.
Placing between process and origin the artist’s studio grounds for the hybridity between materials and consciousness, disengaging an ephemeral relationship to the environments we interactive with.
By applying states of becoming and un-becoming with the use of sound, colour and form in erupt discontinuous subjects of materials, it provokes a reconnection to conscious engagement with the multidimensional aesthetic ecosystem.
IMAGE: Reegan Jackson, Rainfall, 2017, multi-media installation. Image courtesy of the artist.
EDITH COWAN UNIVERSITY
Winner: Shona McGregor
(Nominees: Caroline Goodlet, Ruby Darge)
Lost in Translation is an exploration of the nature of perception via experimental, physical process. Inspired by the miniature landscapes of overlooked spaces, the paintings allow the viewer to be drawn into a world of their choosing; a moment in time, a product of the imagination.
IMAGE: Shona McGregor, Lost in Translation #1, #2, #3 & #4, 2017, acrylic and oil on marine ply. Image courtesy of the artist.
Winner: Agnes Botman
(Nominees: Sam Bloor, Aya Jones)
This project is an investigation into painting as a gendered medium. My key areas of focus are the support, mark-making and display of paintings. The male-dominated history of painting can be seen as manifesting itself in the rectangular, upright support, and in hierarchies of materials and mark-making.
The bed sheet was used as a reference point for exploring alternative forms of support. The soft, draping, non-rectangular form of the sheet was intended to relate to and contrast the traditional stretched canvas.
The use of the sheet led to an interest in the stain, and how some stains are inherently gendered, such as the period stain. Also implicit with the stain is the idea of cleaning, which is traditionally “women’s work”, contrasting the idea of the male artistic master. This idea informed my investigation, where I aimed to paint ‘badly’ – using stains and improper supports – as a method of disrupting the masculine institution of painting.
IMAGE: Agnes Botman, Drape/Droop, 2017, Mixed media on dropsheet. Photographer: Carly Lynch
NORTH METRO TAFE
Winner: Eric C.
(Nominees: Cian Holt, Stephanie De Biasi)
Patchwork quilts left to me by family are a legacy of textile, art and craft, politics and culture. These quilts are, as Rozsika Parker puts it in the Subversive Stitch, “steeped in the personal, yet shaped by the political.” 
My body of work is an example from an ongoing investigation of exploring the idea of passing down of skills, or lineage in my own experience of patchwork quilting, as well as that political heritage of making textile art post second wave feminism; where the fibre art movement set a precedent for both men and women textile artists.
The works A Crafting Empire and Comfort of Legacy recognise that vast cultural history of patchwork quilting, while the work Why do we Craft? delves into my personal family history of crafting.
 Parker, R. (1984). The Subversive Stitch: Embroidery and the Making of the Feminine. I.B. Tauris London: Norwich
IMAGE: Eric C, The Crafting Empire, 2017, oil based prints on tissue paper, cotton thread. Image courtesy of the artist.
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.
EDITH 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.
North 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.
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).
Previous Award Winners
Denise Brown, Daniel Iley, Richard Foulds, Clare Peake, Chelsea Croft, Kerrie Wakefield, Morgan Siggers, Elise Harmsen, Jurgen Kerkovius, Graham Heritage, Simon Giraudo, Matthew Pope, Lukas Mack, Darius Kowal, Chiara Hunwick, Carla Adams, Joni Sercombe, Pascal Proteau, Sharleen King, Jarrad Martyn, Nina McKay, Susan Roux, Marcia Espinosa, Jess Day.