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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Glister in the Sun is a new exhibition of works by South Australian artists exploring dialogue with time, history and cultural lore. Featuring new works by Emiko Artemis, Michael Carney, Chelsea Farquhar and Belinda Wilson. The exhibition considers the role of the artist within the creation of folklore; that artistry, style, creation and alteration influence the construction of cultural ideology. The artists represented all explore deep relationships with time through archival research, material flux, exchange, and representation of cultural stories.
Let me go on
Like I glister in the sun
Let me go on
Big hands, I know you're the one.
Glister in the Sun is an exhibition about the way that ‘art’ and ‘life’ are deeply entwined. Curating an exhibition is kind of like telling a story, pulling together gestures, colours and moods to create a feeling within the gallery space. This story speaks about rituals and journeys, and about the way that art can affect the body of the maker, wearer, viewer, listener. I wanted to bring together artists whose work shows the ways that folklore and folkloric traditions continue within contemporary contexts and exist beyond the written archive- folklore thrives in oral stories, songs, and artifacts, performance, movement and memory. While the cultural study of folklore has taken a western approach to categorising and delineating, I also want to acknowledge that folklores exist outside of the colonial lens- they are oral, flexible and spiritual in ways that resist.
Excerpt from Curator Essay by Adele Sliuzas, full text available above
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Artist Statement
The images presented for the group show, Glister in the Sun, are centered around the ongoing theme of Haunting that I have been exploring for the last two years. First enacted during a residency in Oatlands, Tasmania, i have continued to use the metaphor of haunting to grapple with ideas around histories that will not sleep until they are resolved. As someone who has personal histories needing resolution, and someone who is also a child of migrants from Sweden who were escaping their own grief and trauma, I have a close understanding of the way history rises up through time to reassert itself in the present until it is addressed. The images were created at Kulkyne/Mildura, on the lands of the Latji Latji peoples. They were created near an historic pumphouse on the river and they ask, what happens to history when it is not addressed? What happens to the people of the past whose stories are not heard? History, as we know, is written by the victors but history never stops speaking. There is always a time to look back and tell the stories of the past. The people of the past are still there, waiting to speak.
Biography
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 have also completed a master of Design at The University of South Australia. Since graduating Emiko has been a finalist in art prizes and won awards such as 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. In 2021 they were artist in residence at Saubier House. Emiko was awarded first prize in the Waverly Woollahra Printmaking Digital Prize. Their work has appeared in 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. Alongside their Visual arts practice, Emiko has also run a number of successful community arts projects and has presented work in seminars and online platforms as well as in traditional exhibition format. Recently, Emiko was asked to create temporary sculpture to be exhibited outside of the prestige Adelaide arts venue, The MOD (the Museum of Design) and has successfully completed an innovative sculpture ready for installation.Emiko has also been selected for a scholarship funded arts residence and exhibition at The RoyalSouth Australian Arts Society in 2022/23, presented their talk” Queering the World “ at BetterTogether 2023 and has been awarded funding through Country Arts SA to attend an arts residency atOatlands, Tasmania in 2023. Emiko presented their research and performance work At the Performance of the Real conference in Dunedin New Zealand, with funding through Country Arts South Australia. Emiko’s performance practice has been recognized through invitations to present their performance work at both Burrinja Arts Center in Melbourne in 2023 and Neoetric, part of the Adelaide Festival in South Australia in 2024 as well as HillsceneLive2024. Emiko’s professionalism in their practice has also been recognized through invitations to assess grant applications with Creative Australia and to represent regional South Australia during Regional Arts Australia’s symposium, Artlands 2023. Emiko currently works from their studio space at Fleurieu Arthouse in Maclaren Vale, South Australia.
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Artist Statement
My paintings explore storytelling at its most fractured and fluid, engaging with vignettes and storyboard techniques that deliberately distort and elude traditional narrative structures. Much like folklore, which evolves and shifts over time, my work presents fragmented stories open to the viewer's interpretation, encouraging them to piece together their own meaning from the imagery.
In Echoe, dual landscapes offer two perspectives, allowing the canvas to be rotated for a compositionally similar, skewed perspective. The horizon lines and illuminated central hillside are compositionally identical in both landscapes, yet the elements making up this composition have shifted and changed. This speaks to how stories over time shift and adapt, much like folklore evolving through oral traditions.
A Quiet Pursuit, featuring two large figures walking with a melancholic yet purposeful energy, embodies a similar ambiguity. The figures, veiled in white light, suggest a dreamlike quality, obscuring their narrative and allowing for emotional flux. This vagueness encourages the viewer to bring their own energy and interpretation to the work, becoming an active participant in the narrative process.
The interplay of these works reflects the fluid relationship between myth, memory, and the present, inviting personal connections that ripple through both time and story
Biography
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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Belinda Wilson is a Ngarrindjeri woman, and a painter, weaver and sculptor. She was born on Raukkan mission in 1956, she grew up there until she was four years old. Her father and mother moved to Kingston for work on the waterworks. They stayed in Kingston for a year and then her father got permanent work on the railways in Kalangadoo. She lived there with her three brothers and her sister until she was 16 and then left SA to go to Victoria with her partner.
Belinda started painting right there in Kalangadoo, she started drawing at home and then in school. She was always creative and loved to make using things from nature. Her family would go out hunting for kangaroo, swan eggs. Belinda has a daughter and a son who are also very creative. Belinda lives with her daughter on the south coast and collects materials from nature to create her weaving and to make jewellery as well as using recycled and found materials.
Her paintings are inspired by nature. There is connection through her work to nature through repetition. Everything is connected, she explores these themes, there is layers and hidden meaning that speaks to people differently.
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.