at the workshop: 2014 australian tapestry workshop newsletter
DESCRIPTION
At The Workshop is the annual print newsletter from the Australian Tapestry Workshop. Read about the incredible tapestries produced over the last 12 months including designs by Bronwyn Bancroft, Angela Brennan, Juan Davila, HRH The Prince of Wales & Sangeeta Sandrasegar. New works by Brook Andrew and John Olsen.TRANSCRIPT
AUGUST 2014 ISSUE 30
FEATURING • ARCHITEXTURE & TAPESTRY NOW • NEW WORKS BY BRONWYN BANCROFT,
ANGELA BRENNAN, JUAN DAVILA, HRH THE PRINCE OF WALES & SANGEETA SANDRASEGAR
ON THE LOOM: BROOK ANDREW & JOHN OLSEN • EVENTS AND EXHIBITIONS • IN APPRECIATION
In addition to launching this new program, several
other existing programs were expanded. Weaving
into Wellbeing, the therapeutic weaving outreach
program launched at the Royal Children’s and
Royal Women’s Hospitals last year, grew to include
two new partners, the Northern and Warrnambool
Base Hospitals. We look forward to expanding this
program in 2015.
The Workshop’s popular offerings of classes
continued to expand with numerous sessions of
beginner, intermediate and master weaving, along
with children’s school holiday workshops and
classes on bookbinding and Japanese printmaking.
The Artist-in-Residence program has also
experienced growth, and for the 2014 residency
period we received nearly twice as many applications
as in the previous year. This year artists working in
drawing, painting, jewellery, sculpture and installa-
tion art, as well as textile artists are in residence,
and are sharing their work and experience through
a series of informal public talks.
There have been many other opportunities for
cross-disciplinary experiences mainly through thecross disciplinary experiences, mainly through the
ATW’s collaboration with partner organisations.
We were delighted to be invited to work for the
first time with both the Melbourne Festival and
Melbourne Fringe Festival, presenting musical and
theatrical works at our venue. The ATW continued
to work with neighbouring organisations to present
the Emerald Hill Festival, a day of art, music and
interactive experiences. We are also proud to
continue to be a part of OpOpen en HouHouse se MelMelboubournerne..
While we continue to enggageage th the pe publublublic ic thrthrh ougough
our wide range of events, claslasassesses anand d tourours, s, ourour
online presence is thriving ass weweee tata ta take keke ke a lla la la eadeadeadeadinginginging
rolro e ie n cultivating the digital commmmmmmmununiunity ty y of of of taptaptapestestestry.ry.ry
We invn iteite yo y u tu o join us on Facebookokkk, T, TT, Twitwitwitwitterterterterterter,,
GooGoogleg +, , Instagtagramram ana d Pinti erest as wellll as ssss
subscrc ibiib ng to to ouru momonthnthly y eneews.
Fininallally, we arer bebeging ninning tg the he h prepreparaa atitionson fof r
ourour 40 40th th AnnAnniveversars ry y in n 20120116. 6.6 ItIt is trutruly ly insnspiringng to to
loolo k bk bk ackack at at whwhat t wonwondererfull ac achiehievemvementents as aa
comcomco parparparatiatitivelvely sy smalmall ol orgarganisnisatiation on hashash ma maade de durduringing
thithith s ts ts timeimeim . I. I. lo loloook ok oko forforwarward td to io invinv tinting yg yyou ou ou to to o celcelce ebrebrateate
witwitwith uh uhh us is is n 2n 22201601601 .
ANTANTANTA ONIONIONIO A SA SA YMEYMEYME
our donors on the back cover of this publication,
and I would like to express my deepest appreciation
for their continued support. This campaign runs
until the end of the year so we welcome your
collaborative contributions.
Also crucial in keeping the art of contemporary
tapestry alive are the efforts of the ATW’s dedicated
Board and the Trustees of the Tapestry Foundation
of Australia. While we had to say farewell to two
valued Board members, Guy Abrahams and John
Ridley, we are delighted to welcome Robyn Baillieu,
Peter Bancroft OAM and Rachel Peck to the Board.
A warm welcome was also extended to Freya
Sewell, a weaver from Dovecot Studios (Edinburgh,
Scotland) who visited earlier this year, launching a
three-year weaver exchange program between the
ATW and Dovecot Studios. This creative exchange
is designed to raise the profile of contemporary
tapestry weaving by fostering talent, building
relationships and sharing knowledge. ATW senior
weaver Sue Batten will travel to Dovecot Studios
later this year.
These words just seem to fit together naturally,
and they can certainly all be used in describing
the activities at the Australian Tapestry Workshop
during the past 12 months. And we must not leave
out productive, as five new works were cut from
the looms this year.
Tapestry commissions continue to be the
Workshop’s main focus, and provide a tremendous
opportunity for creativity. Our recent and current
commissions allowed ATW weavers and staff to
collaborate with a range of inspiring artists, and
together we continued to push the boundaries of
tapestry, using innovative techniques and materials.
The public art we create relies on the generous
support of donors, as do many of the ATW’s
programs and outreach efforts. While we receive
some support from the State of Victoria as well as
income from private commissions, the Workshop
is dependent on fundraising through the TFA
increasingly through the Give An Inch campaign,
now in its third year. We are delighted to recognise
The Australian Tapestry Workshop (ATW)
enjoys an international reputation as a leader
in the art of contemporary tapestry.
Established in 1976, it is the only workshop of
its kind in Australia and one of a few in the world
dedicated to the production of hand-woven
tapestries. Collaborating closely with Australian
and international artists to discover new ways
of working, ATW artist-weavers have created
more than 400 extraordinary tapestries.
The Workshop is one of Australia’s leading
producers of public art, and millions of people
view an ATW tapestry every year. Its tapestries
can be found across Australia at leading
institutions such as the National Gallery of
Australia, National Gallery of Victoria, National
Library of Australia, State Libraries of NSW and
Victoria, Sydney Opera House, Arts Centre
Melbourne and many other cultural institutions,
as well as at prominent corporate and govern-
ment locations including Parliament House,
Canberra and West Australia and the High Court
of Australia. They also appear internationally,
including at eight Australian embassies and
high commissions worldwide.
ATW BOARD
Peter Williams, Chairman
Rachel Peck, Deputy Chair
Robyn Baillieu
Peter Bancroft OAM
Dr Rebecca Coates
Richard Hilton
Bronwyn Johnson
Prof Kay Lawrence AM
STAFF
Administration:
Antonia Syme, Director
Alime Adieva, Assistant Accountant
Josephine Briginshaw, Front of House/Office
Coordinator
Rayna Fahey, Development & Marketing Manager
Adriane Hayward, Public Programs Coordinator
Jenny Port, Business & Administration Manager
Production:
Sue Batten, Weaver
Chris Cochius, Weaver
Pamela Joyce, Weaver
Milena Paplinska, Weaver
Tony Stefanovski, Dyer
The Tapestry Foundation of Australia (TFA)
supports the ATW by fundraising to promote
the art of tapestry in Australia as a vital
contemporary art form and by fostering relation-
ships with government, private and philanthropic
organisations, and individuals. Donations to the
TFA of $2 and over are tax-deductible. The TFA
was formed in 1995 by J Arnold Hancock OBE,
Dame Elisabeth Murdoch AC DBE, Jack Kennedy
and Baillieu Myer AC.
The TFA has commissioned many tapestries
including the Embassy Tapestry Collection,
which loans large-scale tapestries designed
by Indigenous artists to Australian embassies
and high commissions around the world.
The educational activities and programs it
supports include an Artist-in-Residence program
at the ATW and international exchanges such
as the Hancock Fellowship, which allows
international artists and experts to give public
lectures in Melbourne.
TRUSTEES & EXECUTIVE COMMITTEE
Janet Calvert-Jones AO, Chairman
Ian Evans, Trustee
Carrillo Gantner AO, Trustee
Anne Robertson, Trustee
Dr Fiona Caro
David Pitt
Baillieu Myer AC, Emeritus Trustee
Arnold Hancock OBE, Emeritus Trustee
AUSTRALIAN TAPESTRY WORKSHOP TAPESTRY FOUNDATION OF AUSTRALIA
EXCELLENCE, OUTREACH,
EXCHANGE. CREATIVE, VIBRANT,
COLLABORATIVE.
FROM THE DIRECTOR
Front cover:
Catching Breath, 2014, (detail)
designed by Brook Andrew,
woven by Chris Cochius,
Pamela Joyce and
Milena Paplinska, 1.9 x 1.5m,
wool, cotton and Lurex
Image: ATW
Below:
Everything has two
witnesses, one on earth and
one in the sky, 2014, (detail)y
designed by Sangeeta
Sandrasegar and woven by
Sue Batten, 164 x 89cm, wool
and cotton
Images: Jeremy Weihrauch2 3
TAPESTRY NOW
The ATW has been creating contemporary art in
Melbourne since 1976 and therefore it comes
as no surprise that the ATW has collaborated with
many of the artists featured in the National Gallery
of Victoria’s Melbourne Now exhibition, that was w
on view from 22 November 2013 to 23 March 2014.
Covering the spectrum of contemporary practice
across the visual arts, design, architecture, sound,
dance, fashion, performance and film, the project
was an unprecedented showcase for the enormous
creative talent that exists in Victoria.
Many of the ATW’s past collaborations on both
major works and small tapestries involved Melbourne
Now artists including Peter Atkins, Jon Campbell,w
Jon Cattapan, Louise Forthun, Gareth Samson and
Jan Senbergs. In just the past four years, the ATW
has collaborated on large tapestries with no fewer
than seven Melbourne Now artists: Brook Andrew,w
Angela Brennan, Juan Davila, Brent Harris, David
Noonan, Sangeeta Sandrasegar and John Young.
In addition several of the artists in Melbourne Now
spent time in residence at the Workshop (most
recently Paul Yore, Michelle Hamer and Vicki Mason).
Working with Melbourne’s leading artists leads to
rich interaction and discovery. For example Juan
Davila was a frequent visitor during the weaving of
a commission for the State Library of Victoria last
year. The discussions between the artist and weavers
on issues such as colour palette deeply influenced
the weavers’ interpretation.
Brent Harris said he learned
more about his own work
through his collaboration with
senior weaver Sue Batten on
the 2012 tapestry Rome,
noting: ‘Sue is amazing.
Through her work she brought
out elements from the study
that were just lurking under
the surface.’
David Noonan also noted the
ingenuity of the weavers when
speaking about the tapestry
they collaborated on in 2009,
saying that they ‘wanted the
tapestry to retain the mystery
and enigmatic nature of the
artwork’ and noting that
‘the result is a stunning and
completely engaging tapestry.’
Melbourne is a city that is,
as NGV Director Tony Ellwood
noted, ‘significantly shaped
by the artists, designers,
architects, choreographers,
intellectuals and community
groups that live and work in its
midst.’* The ATW is committed
to remaining a transdisciplinary catalyst, reaching
out to artists from all spectrums and sharing their
creativity with the public, through works of tapestry
as well as lectures, classes, talks, demonstrations
and open days.
TAPESTRY NOW
Giurgola of Mitchell Giurgola Thorpe, included
the monumental Arthur Boyd tapestry Untitled
(Shoalhaven Landscape) in the new Parliament
House in Canberra. Harry Seidler, the European
émigré and pioneering Modernist architect in
Australia, included great tapestry works in his
Australian buildings. Jørn Utzon, responsible for
the world-acclaimed Sydney Opera House,
designed his tapestry Homage to CPE Bach for
the Utzon Room in that same building.
A point to note is that the realisation of the two
great tapestries for new Parliament House and the
Sydney Opera House was through collaboration
with the ATW. In fact most of the ATW tapestries
are designed with a specific location in mind,
and architectural considerations often have a
great effect on the designing artists and the
weavers when creating a commissioned work.
Ainsley Murray, in her marvelous review of an
installation by Sandra Selig at the MCA in 2004
(Artlink vol. 25, #1), wrote perceptively and
provocatively about architecture and intervention:
‘Architecture has long since surrendered the
tactile in favour of grander visions. Processes of
digitisation, prefabrication and mechanisation
countries and societies. They show great scope,
from traditional designs and imagery, employing
historical and mythical themes, to being utilised
as a preferred medium by avant-garde architects
and artists at the beginnings of the modern
movement in Europe.
From their earliest history to the full integration
of textiles into the comprehensive design
program of the Bauhaus in Germany under
Walter Gropius (1919-28) and later under Mies
van der Rohe (1930-33), tapestries have been
linked intimately with built space and its creation.
One only has to think of the great architect
Le Corbusier and his integration of textiles,
including his own masterly self-designed epic
tapestries, with architecture to understand the
significance of placement in architectural space.
William Morris in the 19th century and the
contemporary French artist Jean Lurçat paved
the way to be followed by others, including
internationally-influential artists such as Picasso,
Calder, Léger and Miró, who used the medium of
tapestry and textile as key platforms for their work.
In our Australian context the architect and
enthusiastic champion of integrated art, Aldo
There is a long-standing historical connection
between architectural space and textile art,
and in particular, tapestry. Rare tapestry remnants
have been found in Greece dating from the
3rd century BC and the tapestry-laden walls of
European museums and palaces are very familiar
to us. The longevity of this art form over the
centuries makes my 15-year connection with it
via the Australian Tapestry Workshop (ATW) pale
into insignificance. Time is not the relevant
metric however when measuring the alchemy
that occurs in the creation of tapestry—this is
timeless.
Significant wall hangings have been created
around the world and used in a myriad of
configurations for functional, decorative,
celebratory and didactic purposes, with a clear
knowing of their ‘other’ underlying capacity to
modify thermal and acoustic conditions within
interior built space. Tapestries have ranged from
monumental formats in great public and private
buildings down to small-scale intimate works
for personal enjoyment. Often underpinning great
wealth, they have been traded and presented
as gifts to leaders for hundreds of years across
have led to the widespread abandonment of
the human hand in architectural practice, and
private eccentricities are now buried, smoothed
over with flatter, more uniform design solutions.
Recalcitrant fingerprints and other imperfections
have dissolved from all but the vernacular and
indigenous architecture of Australasia. The
question is, how might we reconsider our
relationship with built matter to restore a direct
connection with human experience? I suspect
the clues lie not in architecture, but in
contemporary installation.’
An upcoming design competition promoted
by the ATW will reinvigorate this undoubted
connection between architectural built form and
textile art. It will help to build an awareness of
tapestry as a relevant medium that sits comfort-
ably within the materiality of contemporary
architectural thinking, providing another tool that
architects can draw on in response to the ever
increasing complex and challenging world.
As Ainsley Murray concludes her Artlink article,
‘Perhaps the handmade in architecture is nothing
to do with the physical character of buildings,
but entirely to do with how we engage with
them in our enlivened and repetitious gestures.
Not only is architecture rethought, but the
relationship between being and building
reconsidered.’
Hear, Hear.
PETER WILLIAMS
Chairman of the Australian Tapestry Workshop
and Director of Williams Boag Architects
Below:
The Visitor, 2008 (detail),r
designed by Jon Cattapan
and woven by Chris Cochius,
John Dicks, Milly Formby,
Emma Sulzer, 1.5 x 7.7m,
wool and cotton
MELBOURNE NOW
Homage to Carl Emmanuel Bach, 2003, designed by Jørn Utzon, woven by Cheryl Thornton, Pamela Joyce, Milena Paplinska, Chris Cochius, 2.67 x 14.02m, wool, cotton, Sydney Opera House
*Foreword to Melbourne Now ebook at melbournenowebook.ngv.vic.gov.au
4 5
further emphasising this sense of exuberance
and bringing rich details to the forefront.
The ATW had previously worked with Angela
Brennan on the tapestry It was not I who looked
(2006), which is now in a private collection. This
gave an ease and depth to the collaboration as
the artist was already familiar with the ATW
working process as well as the interpretive
possibilities of the tapestry artform.
Collaborative decision-making between artist
and weavers saw the artwork evolve from design
to the finished tapestry. Brennan had felt that
the sky wasn’t fully resolved in the painting, and
was happy with its final outcome in the tapestry.
As another example, while the painting used
gold paint subtly, together the artist and weavers
decided to place a greater emphasis on the
gold and use it in select places in the tapestry.
The design for this private commission was
inspired by the landscape, flora and fauna of
Point Addis in Victoria, situated between Torquay
and Anglesea on the iconic Great Ocean Road.
It shows the dramatic lines where the land meets
the sea and sky, as well as the big boulders
and soft foliage. The scene also includes the
Rufous Bristlebird, a bird which nests in the
coastline cliffs, as well as various native
eucalyptus and banksia species.
Angela Brennan has had numerous solo
exhibitions at prominent galleries, and her work
is also found in public and private collections
both in Australia and overseas. Her paintings use
bold, joyful colour combined with vigorous shapes,
lines and strokes of paint, which together give the
works great energy and life. This tapestry was
woven at almost twice the size of the design,
NEW WORKSNEW WORKS
The palette for the tapestry provided a challenge
to the weavers, as did working from a photograph
rather than the original artwork. They strove to
give depth to the limited palette, moving through
gradations in weaving to give the appearance
of watercolour. The team also decided to use
cotton extensively, as this provided subtler
shades of colouring as well as texture.
The project was kept carefully under wraps
until it was revealed during a ceremony at the
Workshop on 14 May, at which The Premier of
Victoria The Hon Dr Denis Napthine and Mr
Beddison AO cut off the completed tapestry.
The Premier remarked on His Royal Highness’s
keen interest in Australian wool, and noted, ‘It’s
terrific to see the produce from great Victorian
farmers put together with the dyer and weavers
to produce such a fantastic piece of art. The ATW
is seen as an absolute icon around Australia
and the world.’
The Australian Tapestry Workshop has woven
its way into history, becoming the first to
translate an artwork by His Royal Highness The
Prince of Wales into tapestry. This work was
commissioned by Mr Tony Beddison AO after a
visit from HRH The Prince of Wales to the
Australian Tapestry Workshop in 2012. During
the visit, His Royal Highness was enchanted by
the skills of the ATW weavers and expressed a
desire to see what they could do with one of
his own watercolours.
His Royal Highness has been an enthusiastic
amateur artist, keen collector and patron of the
arts for many years. He has combined his love
of the environment with his passion for art
through the practice of watercolour, painting
whenever his schedule allows. The artwork for
the tapestry design was personally selected by
His Royal Highness, and he was reportedly
thrilled with the images of the tapestry’s progress
periodically sent to him.
Below left to right:
Robyn Baillieu, Tony Beddison AO,
Robyn Beddison OAM,
The Hon Mr Ted Baillieu,
Premier of Victoria
The Hon Dr Denis Napthine
Image: Jeremy Weihrauch Images: Jeremy Weihrauch
Above left to right:
Point Addis cutting off
ceremony,
by Carol Schwartz AM,
Eva Besen AO,
and Mark Besen AO
TAPESTRY FACTS
Title: Rufiji River from Mbuyuni Camp,
Selous Game Reserve, in Tanzania, 2014
Artist: His Royal Highness The Prince of Wales
Weavers: Chris Cochius,
Pamela Joyce, Milena Paplinska
Tapestry size: 1.37 x 1.73m
Weaving time: 480 hours
TAPESTRY FACTS
Title: Point Addis, 2013
Artist: Angela Brennan
Weavers: Sue Batten, Chris Cochius,
Milena Paplinska
Tapestry size: 1.8 x 2m
Weaving time: 1,025 hours
6 7
This tapestry has been generously funded by
the TFA through Give An Inch, the ATW’s
annual fundraising campaign. The tapestry will
be exhibited in Scotland at Dovecot Studios as
part of a show of contemporary tapestry in 2014
celebrating the newly-established exchange
program between Dovecot and the ATW.
The brief for the design was to examine the
concept of multiple identities emerging out of a
colonial and indigenous past as well as proposing
what a future Commonwealth holds for these
countries. Selected for the project was Melbourne
artist Sangeeta Sandrasegar, who works within
a research-based practice. Sandrasegar explores
her context within Australia and its relationship
to migrant communities and homelands.
In creating this design, the artist focused on
the seas which have brought us in contact
with one another. Thinking about themes such
as trade, conquest, industry and pollution, she
notes, ‘sea life knows not our national boundaries
… As the Indigenous people of Australia have
understood “everything has two witnesses, one
on earth and one in the sky”, so we too must
begin to listen to such testimony. We need to
work together to not lose any more of this
common wealth, just as we have sought to do
in our homelands.’
While the artwork incorporates a paper cutout
it was decided, for the tapestry, making a separate
shaped piece would have looked clumsy. Instead
the artist supervised the photographing of the
artwork so that in the two-dimensional tapestry,
the shadows appear in her desired position.
Weaver Sue Batten’s extensive use of the
Soumak technique, which uses a needle, helped
capture the delicate line work.
NEW WORKSNEW WORKS
This work evokes a personal sense of place,
relating to the sun on Washpool Creek in
northern New South Wales. The vertical
ribbons represent the artist’s family DNA, the
background is a representation of the land.
The artist was born in Tenterfield in NSW and
is a descendant of the Djanbun clan of the
Bundjalung nation.
Bancroft is represented in many collections
in Australia including the National Gallery of
Australia. She has exhibited extensively around
the world, and her work is held in overseas
collections including those of the Prime
Minister of Turkey and the Governor of Tokyo.
This tapestry, a private commission, was
woven vertically to create a string stepping of
the vertical lines. The original design was done
in A4-size, so enlarging the scale presented
a wonderful opportunity for interpretation
and discovery.
The ATW was delighted to work with
Bancroft, and the artist and weavers expressed
the hope that they will be able to collaborate
again on a larger work in the future.
On 24 October 2013 the ATW Board and staff
were delighted to welcome guests to the
Workshop to celebrate the completion of Sorry.
Designed by Juan Davila, the tapestry was a
commission by the State Library of Victoria
(SLV) in celebration of the centenary of its
iconic dome. The tapestry was cut from the
loom by the artist and the Hon Heidi Victoria
MLA, Victorian State Minister for the Arts.
As always there was sadness with
celebration as the ATW bid farewell to this
work, which had been ‘living’ at the Workshop
since March 2013. This tapestry was a
particularly collaborative effort, and the
weavers enjoyed the visits of the artist, who
stopped in frequently during the 2300 hours
of weaving.
Sorry has now joined Spring Street end,
a tapestry designed by Ben McKeown,
commissioned for the SLV. Like the McKeown
commission, Sorry was made possible
by philanthropy, and we are grateful to
Peter Walsh for his support of the project.
The tapestry is a gift of the Eldon Hogan
bequest, the Marjorie May Kingston bequest
and the Margery Ramsay bequest in memory
of Father William Hackett SJ, (1878-1954)
founder and director of the Central Catholic
Library and Trustee of the State Library of
Victoria.
TAPESTRY FACTS
Title: Sorry, 2013
Artist: Juan Davila
Weavers: Sue Batten,
Pamela Joyce,
Milena Paplinska,
Cheryl Thornton
Tapestry size: 4.2x 3.26m
Weaving time: 2344 hours
Client: State Library of
Victoria
TAPESTRY FACTS
Title: Sunrise on
the Washpool, 2013
Artist: Bronwyn Bancroft
Weavers: Sue Batten,
Pamela Joyce, Cheryl Thornton
Tapestry size: 1.05 x 1.27m
Weaving time: 473 hours
BRONWYN BANCROFT
JUAN DAVILA
Image: John GollingsImage: Jeremy Weihrauch Images: Jeremy Weihrauch
TAPESTRY FACTS
Title: Everything has two witnesses,
one on earth and one in the sky, 2014
Artist: Sangeeta Sandrasegar
Weaver: Sue Batten
Tapestry size: 1.64 x 0.89m
Weaving time: 350 hours
From left to right:
Sangeeta Sandrasegar,
Antonia Syme, Dr Isobel Crombie,
Assistant Director, Curatorial
and Collection Management,
National Gallery of Victoria
8 9
ON THE LOOMS
This work, supported by the Department of
Foreign Affairs and Trade and the TFA, will be
loaned to the Australian High Commission in
Singapore as part of the Embassy Tapestry
Program. This program has placed tapestries
designed by Indigenous artists in eight Australian
embassies and high commissions around the
world to date.
Brook Andrew is a Melbourne-based artist
who works with neon, installation, photomedia,
mixed media, performance and video. Of the
Wiradjuri nation, Andrew challenges cultural and
historical perception, using text and image to
comment on local and global issues regarding
race, consumerism and history.
The ATW is delighted to have this chance to
collaborate for the first time with Andrew, and
the artist made several visits to learn more about
the art of tapestry and its possibilities before
finalising his design.
Catching Breath is a veiled portrait of a
seemingly unknown subject. The original portrait
by Charles Kerry is from Andrew’s archive of
rare books, postcards and paraphernalia. The act
and presence of a veil is well known to conceal
or represent faith, culture and social values. In
Catching Breath the veiled subject peers through
the veil with eyes clearly focused on the outside,
catching our attention and our breath.
This tapestry uses several innovative
techniques and unusual materials, including
silver Lurex thread. It is being woven in two parts;
the portrait and the veil. While these parts use
the same palette, the veil is a thinner, shaped
piece. It is woven with an even weave (wool
warp and weft visible in even amounts) using a
technique similar to cloth weaving.
It was important to the artist that the tapestry
maintain the pixilation of the original design. This
was achieved in different ways in the two pieces.
The main tapestry uses a ‘half-pass’ technique,
while the veil section uses a visible black warp,
dyed in-house, to create a pixilation effect.
The ATW is delighted to be again working
with John Olsen AO OBE, an artist who is not
only loved across Australia, but who has also
been one of our greatest supporters since the
beginning. This is our eighth collaboration with
Olsen, and the opportunity to work with the
artist, who truly understands the nuance and
potential of the medium, has generated palpable
excitement in the workshop.
While the extensive catalogue of ATW tapestries
is renowned, many people are unaware of the
comprehensive samples library that has been
built up over the decades. As each new project is
imagined and trialled, a vast collection of ideas
and approaches has grown. It is these samples
our weavers are drawn to at the commencement
of each project for technical guidance and
inspiration.
The opportunity to work with John Olsen offers
the chance to explore over 25 samples created
over almost 40 years. A selection of these
samples are being exhibited in the ATW Gallery
so members of the public can get an up close
look at the full process of a tapestry design.
Image: ATW Images: ATW
TAPESTRY FACTS
Title: Catching Breath, 2014
Artist: Brook Andrew
Weavers: Chris Cochius, Pamela Joyce,
Milena Paplinska
Tapestry size: 1.9 x 1.5m
Estimated weaving time: 1113 hours
Brook Andrew with Catching Breath cartoon and sample
Right: Brook Andrew’s working design for Catching Breath
10 11TAPESTRY FACTS
Title: Sun over the You
Beaut Country, 2014
Artist: John Olsen AO OBE
Weavers: Sue Batten, Chris Cochius
Tapestry size: 1.6 x 2.8m
Estimated weaving time: 1130 hours
PROGRAMS AND CLASSES
ATW OPENS ITS DOORS
ENGAGEMENT
EXHIBITIONS AND PERFORMANCES
OTHER VENUES
The ATW is always honoured to be included in
exhibitions at other venues. In 2013, ATW
tapestries were featured in the Amity Craft
exhibition at George Paton Gallery at the University
of Melbourne, as well as Wrapped in Wool at
Sheila Inc Gallery as part of Euroa Wool Week.
PERFORMANCES
Partnering for the first time with both the
Melbourne Festival and Melbourne Fringe Festival,
the ATW was delighted to host the following
performances:
YARN – Created and Performed by Lily Fish
(25-28 September and 2-5 October)
This site specific performance by 2012 ATW
Artist-in-Residence Lily Fish was well-received
at the 2013 Melbourne Fringe Festival.
HAYDN UNPICKED (26 October)
This Melbourne Festival performance was a
special treat for lovers of classical music,
featuring a behind-the-curtain peek at the
acclaimed Australian String Quartet.
FLEECE TO FIBRE EXHIBITION (1 April- 6 June 2014)
This exhibition focused on Victoria Crowe’s
celebrated painting, Large Tree Group (1975),
commissioned to be created into tapestry in
2012 by Dovecot Studios (Scotland) as part of
its centenary celebrations. Curated by Ben Divall,
the exhibition explored how the project came
to fruition, tracing the journey from sheep to
yarn to tapestry. It was held in conjunction with
the launch of a three-year weaver exchange
program. Earlier this year Freya Sewell visited
the ATW, and ATW weaver Sue Batten will travel
to Dovecot later this year.
FERTILE GROUND (11 March-4 April 2014)
An exhibition of 15 artists who were in residence
at the Australian Tapestry Workshop from 2012
and 2013. This inaugural exhibition celebrated
the work these artists produced while working
at the ATW.
The ATW is committed to promoting the art
of contemporary tapestry not only at its
heritage-listed building in South Melbourne,
but throughout the region, the country and the
world. The following are highlights of the many
activities we have recently engaged in to further
this mission.
The ATW welcomes the public from Tuesday
to Friday from 10am to 5pm. Entrance to the
galleries is free, while self-guided tours can be
taken at anytime for $5 and guided tours
($10 per person) and are available through
advance booking on Wednesday and Thursday
(or by appointment for large groups). We are
pleased to welcome visitors as well to our open
house and other events:
OPEN HOUSE MELBOURNE
After hosting a total of approximately 1500
visitors in 2012 and 2013, the ATW was delighted
to again participate in OHM 2014 on 26-27 July.
During this citywide event, visitors were invited
to take a tour, talk with our production staff,
and participate in weaving activities.
GIVE AN INCH LAUNCH
On 21 May donors to the annual campaign and
other special guests were invited to be the first
to see the completed tapestry by HRH The Prince
of Wales, as well as a preview the new works
on the looms.
EMERALD HILL FESTIVAL
Held on 27 October, this collaborative event
between the ATW and the Australian National
Academy of Music, Arts Access Victoria, Emerald
Hill Library & Heritage Centre, Multicultural Arts
Victoria and South Melbourne Police, featured a
smorgasbord of free activities: concerts, children’s
workshops, tours, exhibitions, pop-up food
trucks and more.
PUBLIC TALKS
The Friends of the Workshop host six talks per
year featuring artists currently working with
the ATW or experts on textiles. The Artist-in-
Residence program is also holding a series of
artist talks.
The ATW has continued to expand its offerings
of classes. The focus is on providing one-
week intensive experiences with six hours of
instruction and weaving each day supplemented
by one or two evening events. Two introductory
programs, taught by Joy Smith, were held in
February 2014, while intermediate classes, led
by Cresside Collette, were held in April and May.
A masterclass is scheduled for the end of August
(Works created by participants in the 2013
masterclass can be found in an online exhibition
on our website).
In addition last year we successfully launched
School Holiday Weaving programs, in which
children (age 5+) could learn the art of hand
weaving and take home a colourful tapestry.
These popular sessions were held in October,
January, April and July.
The Workshop was also pleased to continue
its collaboration with former Artist-in-Residence
Kyoko Imazu, who conducted classes on
bookbinding and contemporary Japanese
woodblock printing.
Reaching beyond its walls, the Workshop
continued Weaving into Wellbeing, a highly
flexible and creative therapeutic weaving
program. Initially funded by the Teresa Wardell
Trust managed by Perpetual it was piloted with
two partners, The Royal Women’s Hospital and
The Royal Children’s Hospital, which created a
related app Create Explore Learn, that looks at the
process of weaving as well the ATW tapestry on
view at the RCH. New regional partners include
the Northern Hospital and the Warrnambool
Base Hospital, and we are hoping to continue to
expand the program to other hospitals, especially
since the ATW has tapestries in 13 hospitals and
medical centres.
SAVE THESE DATES!
25 AUGUST 2014
BROOK ANDREW
Friends of the Workshop Artist Talk
25-29 AUGUST
TAPESTRY MASTERCLASS
with Tim Gresham
20-21 SEPTEMBER
BOOKBINDING WORKSHOP
with Kyoko Imazu
22-26 SEPTEMBER
INTRODUCTION TO TAPESTRY WEAVING
with Cheryl Thornton
2 OCTOBER
SCHOOL HOLIDAY CHILDREN’S WEAVING CLASSES
22 OCTOBER
BEVERLY GORDON
Hancock Fellow Talk
26 NOVEMBER
EMERALD HILL FESTIVAL
www.austapestry.com.au
Children’s weaving workshop, 2014 Image: ATWLily Fish Image: Hannah Spence
Below:
ATW Weaver
Milena Paplinska
public talk at Emerald
Hill Festival 2013
Freya Sewell,
from Dovecot Studios,
Edinburgh on weaver
exchange at the ATW
Opening night, Fertile Ground exhibition, 2014 Images: ATW12 13
PEOPLEPEOPLE
2014 ARTISTS-IN-RESIDENCE PROGRAM
2014 Artist Residents to date:
NATASHA DUSENJKO has a strong interest in
using diagrams to represent invented systems of
language and geography, photography, drawing
and sculpture.
STORM GOLD uses a range of personal and
ethnographic iconography in work exploring the
contrasts between experience and memory.
MICHELLE HAMER uses hand-stitched pixilation
to map the small moments of apparent
‘nothingness’ that characterise everyday life,
focusing on text and signage within urban
landscapes.
VICKI MASON is interested in notions of place,
belonging and the life cycle, and she uses plants
as metaphors to represent these ideas. Mason
uses textile processes and materials alongside
metal and metal techniques to create a cross
media/material discourse.
CAROLINE PHILLIPS works primarily in sculpture,
employing recycled and industrial materials to
create handmade objects and installations that
explore the materiality of the body.
LYNDALL WATSON’s practice involves weave
being reduced to a basic one-to-one ratio of yarn
over yarn—the simplest constructed textile
concept; such a simple beginning considers
the material as an inherent part of design.
Other artists selected for the 2014 program:
TROY EMERY creates suites of artworks where
dislocated animal forms are brought together
as a collection through a uniform approach in
their construction and materials.
EMILY FERRETTI’s painting practice draws from
both autobiographical and imaginary sources
and focuses on themes from the everyday world,
which are translated through still life and
constructed scene paintings.
GILLIAN LAVERY explores repetition and line or
mark-making in conjunction with language.
Hers is a process-based drawing practice
informed by her background in textile art.
NIKOS PANTAZOPOULOS explores the public
and private, the personal and political. At the
ATW, he will undertake to access new skills,
techniques and material for his practice-led
project ‘Masculine Identities’.
DELL STEWART combines various processes
often regarded as belonging to the world of craft
(ceramics, textiles, animation) with a deeply
embedded personal history, and a particular
interest in fostering new material connections
and collaboration.
Collaboration is at the heart of the ATW’s work,
and its Artist-in-Residence program is one
of its diverse collaborative programs. It provides
a means for the Workshop to interact with
artists, both established and emerging, working
in a wide range of media. Friends of the ATW
and the general public are invited to learn more
in a series of informal talks presented by the
artist-in-residence.
Artists are invited to immerse themselves in
the Workshop’s studio environment, and those
who are not tapestry artists themselves may also
choose to have instruction in weaving. The next
application period will start in late 2014 for
residencies in 2015.
VOLUNTEERS
ADMINISTRATION
As a not for profit organisation with limited
resources, the Workshop relies on volunteers to
help with vital administrative tasks, such as
conservation, archiving, database maintenance
and public programs.
Hannah Jonas (work experience)
Silvia Krambeck
Joan Korn
Maddie McCredden (work experience)
Annelise McNab (work experience)
Clare Norris (intern)
Cleo Pitt (intern)
Emily Sims
Olivia Wright (work experience)
GUIDES
Voluntary guides help the Workshop reach
hundreds of visitors every year, promoting our
work and the art of tapestry. Our dedicated
guides provide bi-weekly tours for the public as
well as by appointment for groups ranging from
curious schoolchildren to textile design students
to enthusiastic Probus visitors.
Kay Bailey Catherine Linton
Carolyn Berger Janet Lilley
Robyn Cass Phillip Norris
Margaret Crothers Jan Wallage
Diane Dwyer (retired 2014)
FRIENDS COMMITTEE
An engaging series of talks, tours and other
events is organised by the Friends Committee,
who meet on a bimonthly basis and also help
with set-up and greeting at the events. We
deeply appreciate their service as well as that
of longtime member Dr Fiona Caro, who will
continue her association on an ‘ex officio’ basis.
The committee is actively seeking new members
and encourages those who might be interested
to contact the Workshop.
Jan Wallage, Convenor Kay Bailey
Dr Fiona Caro Catherine Linton
Tuppy Cole Joan Korn
Chris Collingwood Dr Di Tibbits
BUSY BEES
This dedicated corps of volunteers comes to
the Workshop every other week, collectively
donating many hundreds of hours of work on
tasks otherwise not achievable by staff in the
day-to-day running of the Workshop.
Nancye Cain Therese James
Tuppy Cole Janet Kidson
Rosemary Clark Helen Lane
Stephanie Coote Christine Matthews
Mary Crosby Mary McCowan
Betty A Dixon (retired 2014) Delwyn Poyser)
Ruth de Fegely Anne Rayment
Marguerite Gibson Mavis Sheedy
Elizabeth Gibson Geraldine Sheridan
Suzanne Haymes Jenny Turnbull
Pam Hendy Jo Wilson
NEW ATW BOARD MEMBERS
RACHEL PECK is Principal of peckvonhartel,
Architects, Planners and Interior Designers.
She was a former Divisional Council Member of
the PCA (ACT), and founding member of 2050,
a national group for young professionals
dedicated to creating a sustainable built
environment. Rachel was an ADC Future
Summit 2006 Leadership Awardee and was the
Telstra ACT Young Business Woman of the Year
(2008). Rachel is also on the Board of ACTEW
Corporation Limited. She serves as the ATW’s
Deputy Chair.
The board and staff of the ATW would also
like to take this opportunity to again express
appreciation to outgoing board members
Guy Abrahams and John Ridley for their
dedicated contribution to the ATW.
The Australian Tapestry Workshop simply
wouldn’t exist without the unceasing support
of its talented and committed Board. Last year
we were delighted to welcome three new
members:
ROBYN BAILLIEU has been involved with many
community organisations and projects, with
roles including Ambassador for the Breast Cancer
Network, Community Ambassador for the
Virgin Australia Fashion Festival, and Committee
Member of Second Bite, Epworth Hospital and
Australian Ballet School.
PETER BANCROFT OAM has been contributing to
Melbourne’s cultural vibrancy for over 60 years
and brings a wealth of financial skills to the
Board. Peter is Founding Director and former CEO
of The Treasury Group Ltd, former Managing
Director of Stikki Products, former CEO of Paper
Technology International, and former owner of
a number of restaurants. He is also former
President of the Victorian Licenced Restaurant
Association, Vice President of the Federal
Licenced Restaurant Association, and Board
Member of International Specialised Skills
Institute. Back rowBack row left to rightleft to right::
Guy Abrahams (former board
member), Antonia Syme,
Prof Kay Lawrence AM,
John Ridley (former board member),
Bronwyn Johnson, Rachel Peck,
Richard Hilton
Front row left to right:
Peter Williams, Robyn Baillieu,
Peter Bancroft OAM
Not present:
Dr Dr Dr Dr RebRebReRe ecccca Coates
Busy Bees volunteer group
Artist-in-Resdient Vicki MasonImages: ATWImage: Jeremy Weihrauch14 15
FRIENDS OF THE WORKSHOP
BECOME INVOLVED
GIVE AN INCHTHANKS TO OUR DONORS
SUPPORT THE WORKSHOP
www.austapestry.com.au
Since 1996 support from the Friends has been
invaluable to the Workshop, and members
gain a special insider’s view of the ATW’s
collaborative activities with leading Australian
and international artists.
Programs organised by the Friends in the past
12 months have included talks on the history of
cultural exchange between the ATW and Dovecot
Studios and an exploration of historical and
contemporary tapestries in Europe. And as
always, Friends received special insight into
the collaborative process through a dialogue
between the designing artists and the weavers;
a highlight talk this year featured senior weaver
Sue Batten and artist Sangeeta Sandrasegar.
In addition to discounted tickets for talks,
Friends members enjoy the following benefits:
• 10% discount on in-store and mail/phone
orders of yarn, cards and books (not available
for online orders).
• Access to the Workshop, including the viewing
mezzanine, at no cost for Friends and their
guests.
• This annual newsletter, a great resource on
contemporary tapestry, especially for those
Friends unable to visit regularly.
• Invitations to ATW events including the
Christmas party, Cutting Off Ceremonies, and
the biennial Kate Derum Award and Hancock
Fellow’s Lecture.
The Friends are an active and diverse group,
with approximately 300 members hailing from
seven states and territories in Australia as well
as several foreign countries. Visit our website
to learn more or join online today!
You can ensure the survival of one of Australia’s
most significant cultural institutions and a
world leading producer of contemporary tapestry.
Please support the ATW, through the Tapestry
Foundation of Australia, by participating in the
annual giving campaign, Give An Inch 2014.
It is our generous donors who allow the
Workshop to continue to operate and produce
the highest quality works, and to promote the
art of contemporary tapestry worldwide.
Last year with your help:
• 9 exhibitions were curated
• 11 workshops were facilitated
• 80 tours were guided
• 5000 visitors were engaged
Your support will ensure that the Australian
Tapestry Workshop continues to be a global
leader and innovator.
• DONATE by Giving an Inch – or 2 or 100! –
you will support the work of the team who
collaborate with contemporary artists to
create wonderful new hand-woven tapestries
from high-quality Australian wool.
• SUPPORT our regular giving program and make
a weekly, fortnightly or monthly contribution.
• JOIN the Friends of the Australian Tapestry
Workshop, and support the ATW while receiving
great benefits year-round.
• THE TAPESTRY FOUNDATION OF AUSTRALIA
plays a crucial role in supporting the ATW.
Donations to the TFA of $2 and over are
tax-deductible. To give, please go to
www.austapestry.com.au/donate,
email us at [email protected]
or call 9699 7885.
ATW Ambassadors $10,000 and above
John & Chris Collingwood *
John & Janet Calvert-Jones *
The Calvert-Jones Foundation *
Carrillo Gantner AO
Geoff & Helen Hanbury Foundation *
Baillieu Myer AC *
The Myer Foundation
The Brenda Shanahan Charitable
Foundation *
The Yulgilbar Foundation
Associate Supporters $500-9,999
Betty Amsden AO OAM *
Annamila Pty Ltd *
Australian Decorative & Fine Arts
Society South Yarra Inc. *
The Hon Mr Ted & Mrs Robyn Baillieu
Bill Bowness *
Amy Boyd & Stephen Rebikoff *
Fiona Caro *
Robyn Cass *
Dr Rebecca Coates *
Ann Cole *
Juan Davila
Roslyn Epsie
Ian Evans *
Gina Fairfax *
Joan Gabb *
Neilma Gantner *
David Gibbs *
Leslie Griffin *
Barbara Hadle *
Michael & Susan Hamson *
Arnold Hancock OBE *
Bronwyn Johnson *
Caroline Johnston*
Anne Kantor*
The Hon Rod Kemp & Daniele Kemp *
Robert & Mem Kirby Foundation *
Prof Kay Lawrence AM *
Alison Leslie *
Frank & Barbara Lewincamp *
Susanna Mason *
Helen Masters *
The Orloff Family Charitable Trust
Anne & David Pitt *
Barbara & John Ralph *
Lynn Rainbow Reid *
Anne & Mark Robertson OAM *
Judith Robinson *
Margaret S Ross AM *
Anne-Marie Schwirtlich
Brenda Shanahan *
K & S Shelmerdine Family Foundation *
Gary Singer & Geoffrey Smith *
Antonia Syme *
Elizabeth Syme *
James Syme *
NS & JS Turnbull *
Peter Walsh *
Roslyn Webster *
Janet Whiting & Phil Lucci *
Peter Williams *
Give An Inch Supporters $25-499
Anonymous (1)
Anne Cunningham
Alime Adieva *
Dr Adriane Anderson *
Barbara Anderson *
John Atkin
Frances Awcock AM *
Maureen Barden *
Barbara Batistich
Sue Batten *
Gail Bett
Josephine Briginshaw
Beverly Boyd *
Tania Brougham
Michael Butcher
The Hon John & Mrs Nancye Cain *
Margaret Cash
Anne Cawsey
Teresa Christiano
Elaine Clark
Charlotte Clemens *
Christine Clough *
Rosemary & Alan Crosthwaite *
Fairlie Cunningham
Rosanne Cunningham *
Susan Cunningham
Tim Davey
Ruth de Fegely *
Betty Dixon *
Stella Downer
Jenny Dunstall
Rayna Fahey
Robert & Sue Freeth *
Carol Geary *
Glenora Weaving & Wool
(Christine Sloan) *
Gaye & Bill Goddard *
Jennifer & Dr Greg Goodman *
Janine Harrison
Adriane Hayward
Bill & Mary Hick
Richard Hilton *
Judy Holding *
Janet Holmes à Court AC
Elizabeth Howcroft *
Barbara Jacob *
George & Grace Kass *
Sue Lindton
Emma Mackey
Susanna Mason *
Kirstin Mattson & Joerg Raichle *
Joyce McCloskey *
Jill McFarlane *
Eve McGlashan
Marion McPherson *
Kay McVey
Fiona Menzies
Alexandra Merrett & Richard Hoad *
Teresa Miller
Carolyn Mitchell
Lisa Molvig *
Diana Morgan *
Margie Moroney
Sharon Nathani
Jan O’Reilly
Di Parker *
Beth Parsons *
Gaye Paterson
Margie Patrick *
Marianne Perrott Hay
Lyn Phillips
Anna Polias
Lady Primrose Potter AC *
Delwyn Poyser
Janet Quilty
Diana & Ian Renard AM *
Zelda Riddell
John Ridley *
Gay Rosen *
Louise Saxton *
Clive Scott
G Sinclair *
Cliff Skinner & Helen Graham
Sadrine Smith
Lady Marigold Southey AC *
Katrina Strickland
Emma Sulzer *
Robin Syme
Prof Leon van Schaik AO
Jan Wallage *
Sue Westwood *
Ursula Whiteside *
Gavan Woinarski *
In memorial donations received
Meg Warren in honour of Bev Warren
Alan & Alayne Davies in honour of
Irene Davies
Non campaign donations and in kind support
The Clayton Family
John & Janet Calvert-Jones
Anne & Mark Robertson
Michael & Cathy Blake
Corporate and Trust Supporters
Allens
Australian Hotels Association –
Hotel Care
John & Janet Calvert-Jones
Foundation
Shadowfax Wines
Shelmerdine Wines
Sofitel Melbourne on Collins
Government Supporters
Arts Victoria
City of Port Phillip
Department of Foreign Affairs & Trade
Editor: Kirstin Mattson
Assistant Editor: Rayna Fahey
Writer: Kirstin Mattson
Editorial Assistant: Adriane Hayward Design: Lynda Warner
Production Assistant: Tracey Diggins
Photography: Adriane Hayward, Ari Hatzis, John Gollings,
Hannah Spence, Jeremy Weihrauch
Printer: Focal Printing
Printed on: Silk HD
This paper is produced in an ISO 14001 accredited facility
ensuring all processes are of the highest environmental
standards. FSC Mixed Sources Chain of Custody certified.
AUSTRALIAN TAPESTRY WORKSHOP
262–266 Park Street
South Melbourne, Victoria, Australia, 3205
Telephone: 61 (0)3 9699 7885
www.austapestry.com.au
Patron: Baillieu Myer AC
*Made previous donations to Give An Inch16