Belinda Wilson, Teaching lakun (weaving), detail, acrylic on canvas, 60 x 45cm
October 25, 2024 - January 17, 2025
Opening: Friday October 25, 5:30-7:30pm
The Exhibition Space, 154 Angas St, Kaurna Yarta
Free entry, all welcome
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You can find Glister in the Sun in The Mill’s Gallery II, located at 154 Angas St, Kaurna Yarta (Adelaide).
Gallery II is open Monday-Friday, 10am-4pm.
Accessibility
The Mill has two entrances, the main entrance on the corner of Angas and Gunson Street and an accessible entrance further down Angas Street.
Both doors are locked from the outside, there is a doorbell on the main door that will alert The Mill team. They will meet you at the accessible entrance to welcome you into the building.
The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.
Read more in-depth information on our accessibility web page.
The Mill is excited to present Glister in the Sun, a new group exhibition featuring Emiko Artemis, Michael Carney, Chelsea Farquhar and Belinda Wilson, curated by Adele Sliuzas. The exhibition explores the role of the artist within the creation of folklore through visual art, written text and photography. Their work shows that folklore is still alive today, popping up in the stories we tell, songs we sing, and the way we remember and share these traditions. This captivating exhibition encourages viewers to reflect on their connection to tradition, exploring how customs shape personal identity and create a sense of belonging.
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Let me go on
Like I glister in the sun
Let me go on
Big hands, I know you're the one
For Glister in the Sun I want to show that folklore and folkloric traditions continue within contemporary contexts and exist beyond the written archive- folklore thrives in oral stories, songs, and artifacts, performance, gesture and memory. I want to show the way that ‘art’ and ‘life’ are deeply entwined, that art has the capacity to tell stories, but also to form rituals, to affect the body of the maker, wearer, viewer, listener. Folklore, as cultural study, has since the early 19th century taken on methodological and western approach to categorising and delineating. However, through this exhibition I also want to acknowledge that folklores exist outside of the colonial lens- they are oral, flexible and spiritual in ways that resist.
This exhibition’s title ‘Glister in the Sun’ is informed by American folklorist Archer Taylor’s interest in the origins of proverbs. The formal sociological study of folklore begun in the early 19th century has been used as a means for tracing the changes and movement of language and culture across the globe. Taylor’s study of tales, ballads, proverbs, and riddles used the historical-geo-graphical approach used to reconstruct the history of a folktale. Searching through texts to discover ‘oldest traits’ and ‘variations’ between versions, he found with gaps, jumps and skews that there were pockets of information that could be surmised. While researching the proverb ‘All is not gold that glitters’ he found that ‘glister’ was the original form of the word, replaced in the 18thC by ‘glitter’.
All that glisters is not gold—
Often have you heard that told.
Many a man his life hath sold
But my outside to behold.
Gilded tombs do worms enfold.
Had you been as wise as bold,
Young in limbs, in judgment old,
Your answer had not been inscrolled
Fare you well. Your suit is cold—
— William Shakespeare, Merchant of Venice, Act II Scene 7
Shifts in language and meaning, like the subtle change from glister to glitter, are often driven by small adaptations in usage. Cultural shifts from and between sub-groups which allow for the development of specific yet flexible cultural identities. These are necessary and meaningful, providing communities with a sense of belonging and meaning. Where in the past they may have been traced geographically and historically, these exchanges are now happening within rapid networks across the globe.
- Adele Sliuzas
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Emiko Artemis graduated with a PhD in 2012 and was awarded the University medal for their honors year. They were a Hatched Graduate exhibitor at PICA in their undergraduate year. They were awarded an overseas study scholarship and an APA scholarship for postgraduate study. Since graduating Emiko has been selected as a finalist for the Josehine Ulrick photography award, the Musslebrooke art prize and was a category winner in the Manning Valley art prize. Before relocating to South Australia, Emiko was president of IAVA in NSW and was showcased in Wollongong regional gallery’s Local Current show. In 2020 they were selected as a grantee to attend Meeting Place, Arts Access Australia’s annual arts gathering. Most recently Emiko was awarded first prize in the Waverly Woollahra Printmaking Digital Prize. Their work has appeared publications including CODE magazine and Open Doors Collective. They have been profiled by the Illawarra times and interviewed by Radio Adelaide and Regional Arts Australia about their practice. Emiko has presented their work in seminars and online platforms as well as in traditional exhibition format. Most recently, Emiko was asked to create a temporary sculpture to be exhibited outside of the prestige Adeliade arts venue, The MOD (the Museum of Design) and successfully completed an innovative sculpture ready for installation. Emiko was also selected for a scholarship funded arts residence and exhibition at The Royal South Australian Arts Society in 2022/23, presented their talk” Queering the World “ at Better Together 2023 and has been awarded funding through Country Arts SA to attend an arts residency at Oatlands, Tasmania in 2023.
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Michael Carney is an interdisciplinary artist found most often working with paint, clay, digital and virtual reality mediums.
His practice began in 2009 as a painting undergraduate at the University of South Australia where he was introduced to ceramics as his minor. By 2016 he had completed a Masters by Research (Visual Arts) where both ceramics and painting became the predominant processes in his exhibition practice.
Both ceramics and paintings blend contemporary and antiquated aesthetics to present work that plays with notions of time in flux. Works that are rendered or figurative are often shattered with a gestural flourish forcing the viewer to continue to explore the pictorial plane for a familiar foothold. His work stops short of overt explanation, whilst ontological themes and philosophies are presented, he prefers to activate the viewer’s own contemplation within the broader theme.
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Chelsea is an emerging artist who utilises her artistic practice as a place of observation and contemplation. She is process driven and explorative in her use of mediums from sculpture, performance, and video. Play, testing and examination, are important elements of her practice for blacksmithing, led lighting and costuming. Time is an important contextual element to her work: time it takes to explore materials; make and sculptural works being a marker of time.
Collaboration with visual artists, musicians and other creatives has pushed her practice to evolve and expand upon the visual language of memories. The fluidity of mediums and flexibility of collaboration has allowed Chelsea to deeply explore her sculptural practice and push concepts of process and product.
Farquhar graduated with First Class Honours from the Victorian College of the Arts in 2020. She was awarded a West Space Window award and exhibited 2021; in 2018 received a Carclew Fellowship assisting her to complete a Scottish Sculpture Workshop and a New York residency. This year Chelsea will be developing her practice further with a residency at Watch This Space gallery in Alice Springs NT.
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coming soon
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.