You can find Halo-halo inThe 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.
The Mill is excited to present Halo-halo, a new exhibition by Alyssa Powell-Ascura developed through the Delima Residency in Rimbun Dahan, Malaysia, and at The Mill. Alyssa explores her Filipino heritage and her experience of undertaking the residency in Malaysia through video, installation, photography and personal essays. Her work touches on multi-sensory experiences, bringing audiences into the act of kamayan- a traditional Filipino method of eating with bare hands. She invites audiences to immerse and participate within her installation environment. Photographs evoke the lush, humid environment at Rimbun Dahan and create a conversation between Alyssa’s experience in Malaysia, her ancestral home in Pilipinas (The Philippines) and growing up here in ‘Australia’
Halo-halo is presented in cooperation with the Mahmood Martin Foundation and with support from Creative Australia.
Halo-halo (loose translation mix-mix or mixed) is the name of a popular Filipino shaved ice dessert made by layering a concoction of various ingredients. Each layer of different traditional toppings can be eaten one by one, or usually mixed, eventually combining into a sweetened dessert.
As an emerging multi-hyphenate artist, my first major solo exhibition at The Mill shows my investigation of cultures and the intersections I find myself in as an Asian Australian; a halo-halo of identities, the overarching theme of the exhibition.
Through the lens of food, family and culture, the audience is welcomed to a seat at the table, weaving together threads of tradition, memory, and contemporary discourse into a rich tapestry of multi-sensory experiences. Much like halo-halo, the exhibition showcases diverse works that are experimental in nature that you can consume on its own — and then all together, creating a mouthful of complementing ideas.
Some of the works showcased in “Halo-Halo” draw inspiration from living indigenous practices, for example, the act of kamayan seen in the video work Kain Tayo, employ the method of eating food with your hands, where communal feasting becomes a metaphor for shared experiences and collective consideration.
Central to my artistic vision is the conscious incorporation of repurposed or found items. Everyday items common in Filipino households, such as the ubiquitous kumot or blanket, serve as anchors, becoming symbols of resilience and adaptation; ultimately interrogating the assignment of value of these otherwise ordinary items when shown in a gallery setting.
During the Malaysian part of my Delima Residency, I engaged directly with community members, witnessed rural rituals, and embarked on a personal journey. This immersive experience deepened my connection to my Filipino lineage, shaping the spiritual dimension of my artistic practice.
Halo-halo is more than an exhibition — it is a celebration of the fifth largest migrant community in Australia whose ties to Indigenous Australia transcend pre-colonial times. It is an extension of myself, my unapologetic love letter to my Filipino ancestry and Australian upbringing.
A self titled “slashie”, Alyssa Powell-Ascura is a multi-hyphenated creative. Proud to have grown up in Bundjalung country in a Filipino-Italian-Australian household, she has a background that has given her an interesting, layered perspective on the world.
Alyssa works across a variety of artistic mediums including: writing, conceptual art, immersive installation, traditional and mixed digital media, just to name a few.
Her personal belief in the interconnected relationship of humans to nature drives her to pursue advocating better care of ourselves and our Earth. A finalist of the inaugural SA Environment Awards 2023, she is nominated for her environmental advocacy and using her platform as an emerging creative to promote sustainability and inspire young people.
Motivated to bridge a deeper understanding and connection of Indigenous Philippines and pre colonial Indigenous Australia, Alyssa aims to be actively involved in the intersections she is a part of.
Her creative work has been featured in a variety of local and international publications such as: Local Brown Baby (US), Kindling and Sage magazine (AU), Blank Street Press (AU) and The Philippine Times (AU). She has been published in The Entree.Pinays' anthology "The Calamansi Story: Filipino Migrants in Australia".
If she’s not talking to the local Aunties and writing about food and culture, she can be found by the beach patting puppies who stop by to say hello.
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
The Delima Residency is presented in cooperation with the Mahmood Martin Foundation.
Halo-halo has received sponsorship from Mama-Sita’s Filipino sauces and spice mixes.
You can find A Resting State inThe Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).
Gallery I 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.
Hamish Fleming, George Gilles, Anthea Jones, Robert Viner Jones and Billy Oakley
The Mill is excited to present A Resting State, a new exhibition curated by resident artist Hamish Fleming, featuring work by Hamish Fleming, George Gilles, Anthea Jones, Robert Viner Jones and Billy Oakley. In A Resting State artists have used the medium of painting as a device to create mood and atmosphere within everyday environments. Self-taught artist and now emerging curator, Hamish, has worked closely with the artists to develop an exhibition environment that is rich with feeling through the use of lighting, texture and colour.
A Resting State explores the relationship between the individual and their routine environment. Five artists working across different mediums and traditions have created works from mundane domestic settings. By focusing on what is, at first glance, incredibly simple subject matter, each of these works delve into the subtler elements of image making to take these common surroundings and bring forth their potential to reflect contemporary experience. From more traditional realism to dark, vibrant expressionism and even crisp nonrepresentational works, A Resting State is a visual demonstration of how the mental experience impacts our perception of daily life.
About the artists:
Artist statement
Domestic settings and household objects are not uncommon in my work. The visual symptoms of who we are and what we’re like behind closed doors fascinates me. Habits, rituals and vices are intrinsically intimate when addressed rather bluntly. My work is painted solely from life, and I attempt to address my subjects earnestly, often gravitating towards darker, grungier subject matter. These five works address the domestic environment, specifically mine, in two different emotional tones. The works; Sink, Again and Just Don’t Think of it So Much, open with on a darker tone. Despite their more sullen nature, there’s a comfort to be found in each, however; its cold comfort at best. Flat, Exterior, Late depicts my personal residence, observed from the outside in later hours of the night. Possessing both sinister qualities and a strangely inviting allure, the work presents this environment with foreboding welcome. Contrastingly, A Gentle Steep and Off the Clock are imbued with tenderness and a quiet warmth, shifting from the more solemn, gritty nature I typically present my work in. Objects huddled up and tucked closely together present an emotional intimacy, and a sense of comfort in company.
Biography
H. Fleming is a contemporary realist painter currently based in Adelaide (Kaurna Country), South Australia. Fleming is a self-taught artist, working closely both with and against the long-standing traditions of realism. He works solely from life, without the use of any reference photos, to convey the subtler elements of the human experience through frequently mundane subject matter. Fleming’s practice draws upon many influences, ranging from the classical masters and post-modernism, to gothic and dirty realism literature. In 2023 Hamish has been a finalist in the Bluethumb Art Prize, Centre for Creative Health Art Prize, and Smallacombe Prize, and winner of the Young Artist Category, Adelaide Parklands Art Prize.
https://hflemingartist.squarespace.com/
Artist statement
My ongoing body of work is an allegory for the collective human experience of fear instinct, the feeling just before the bad thing happens. My paintings explore the feeling of your stomach dropping just before the smoke screen is lifted. I have developed two series for this exhibition. The first is a departure from my previous larger scale post-modern expressionist works. I wanted to explore how more realistic form rendering and recognisable subject matter affects the audience's ability to relate to the work. Objects appear in and out of a dark background, emphasising the dichotomy between the mundane and uncomfortable. I have worked in many layers over time to achieve a representational, yet grimy atmosphere. The scenes were constructed in a cardboard box and lit by a single candle’s flame. I wanted to communicate the feeling of a precipice, a silent edge hidden within the normal everyday. Fruit is just about to topple and crash out of the composition, glass that could cut you, a glinting out-of-place corkscrew forced into an apple, forks jabbed into sliced lemons contrasted with pretty ribbons and high chroma, complementary colours.
Building on from the first series, the works in the second series get larger, forcing the audience to stand further back and absorb the more complicated scenes. Dramatic candle light is still used, and the paintings still have sections of intense colour, but are now overall darker, dirtier and less reliant on simpler impressionistic colour-blocking. My rendering techniques shift to deliberate areas of lose, textural brush strokes contrasting against smooth blends, a palette knife was also introduced to diversify mark making. Scenes reflect potential danger: unlit matches next to a wooden doll, a precarious palette knife covered in red paint that looks like blood, perched, teetering glassware, random pins piercing the paintings. Items that could hurt you but usually don’t. The second series also has a personal undercurrent, each painting representing a conflict either with my internal thoughts or external interpersonal interactions. The lined paper within the jar of ‘Love, George x’ is a handwritten letter addressing a disagreement I had with someone. Despite my intentions I never delivered the letter.
Biography
George Gilles is a painter and tattoo artist from Adelaide, South Australia. In 2016 she was awarded a state merit for visual art and continued to pursue a career in the industry, winning the Emerging Artist awards from both The Prospect Portrait Prize and Urban Cow Art Prize. Since then she has been part of The Carclew Sharehouse Residency, presented her debut solo exhibition 'The Way Home' and has co-founded Adelaide Arcade’s first tattoo studio, The Gilded Goblin.
George’s painting practice is driven by her desire to communicate emotional nuance through figurative works as well as inanimate objects and food. Currently, she is creating a body of work that pays homage to the traditional Dutch still life movement whilst also exploring personification and profundity of inanimate objects.
https://www.instagram.com/georgegilles_tattoo/
Artist statement
As an adult and an artist, where I lived and where I created were often one space, indeterminate of boundary, where did one end and the other begin? However, as a child there was never a doubt, my home was also my studio and gallery - my whole world. Home and the domestic was, and continues to be a constant source of comfort and inspiration. My two main paintings in this exhibition represent my earliest memory of deciding I would be an artist to finishing my art studies many years later!
From around age 4 or so I would constantly be found playing (hiding) alone behind the couch, in my own little world. Drawing and making: creating whatever I could with all the bits and pieces from around the house. Always engaged, never bored, learning and developing new skills. Nothing has changed - 60 years later I am still doing the same thing, just not behind the couch!
My painting The artist’s studio aged 6 - they ARE flowers mum! represents my earliest memory, deciding to be an artist. My mum was horrified at the drawing I insisted was flowers and not spiders. It did prompt the purchase of my first set of water paints and maybe started my subsequent lifelong love of colour theory and flora - who knows! It was also my first awareness of the idea that not everyone sees things the same way and I became more interested in representing things with a degree of accuracy.
My painting The artist’s kitchen aged 60 - anatomy and teacup follows this trajectory through to finishing my art studies. Although I now have a designated studio my art paraphernalia still infiltrates my living space. Whilst studying anatomy there were numerous skulls, skeletons and écorché models casually resting amongst the teacups and the milk jug. As an artist these objects were my normal- their shapes, colours, the shadows they projected and the atmosphere they created mixed in with the detritus of my regular everyday world.
Biography
Anthea Jones is a visual artist and inveterate maker. Born in Millicent, now living in Adelaide, her formal qualifications include an Advanced Diploma in Visual and Applied Art, North Adelaide School of Art, a Graduate Diploma in Management (Arts), UniSA and a Graduate Certificate in Art History (Australian Colonial and Modern), University of Adelaide. In 2023, Anthea received the award of a Diploma in Atelier Art, Rob Gutteridge School of Classical Realism, Adelaide (an accredited atelier with the International Art Renewal Centre).
Supplementing her formal studies, she has also attended numerous masterclasses at Adelaide Central School, summer school at the London Academy of Realist Art and life painting with acclaimed contemporary artist Shane Wolf in Yorkshire, UK. After the disappointment of a cancelled three months study at the New York Academy in 2020, Anthea was invited to and will be attending, a one-month residency at Chateaux d’Orqueveaux in France in June 2024.
Anthea has successfully participated in numerous local and interstate art exhibitions and competitions and has had photographs of her works published. While her art training and focus has been on figurative oil painting and drawing, she also enjoys creating with textiles, mixed media, paper and found objects. Anthea is enthralled by the principles, elements and techniques incumbent in developing an artistic piece.
https://antheajonesartist.com/
Artist Statement
Working in fashion design brought me to painting, it was how I relaxed. I love the precision of painting circles. I've worked with colour all my life and have developed a reasonably sharp eye for hue and will spend hours considering shades etc. The bright colours, the defined shapes - it connects with my love of mid 20th century design, which I reference within my printmaking practice. Plus there is something about multitudes of shapes, a plethora of colour I enjoy - I think of these works as a herd of dots.
Each colour is defined, there is no bleed between the images and I paint multiple layers to add a depth and intensity. Having come back to painting after practicing as a screen printer, I’ve found that I have wrestled with the texture. I’ve been thinking about how to make it flat, how to get rid of the texture. I’ve remembered how I achieved this years ago and yet now, I have also grown to love the texture and instead, have embraced the brush strokes.
I am inspired by Joseph Albers and Bauhaus design. I have a book of Josef’s which I have regularly referenced for about 20 years. The blues, the greys and the stone are a nod those Bauhaus colours. I’ve added a pop of red, it's like a ruby. I usually use bright colours, so the curatorial brief for this exhibition has pushed me out of my comfort zone. My second work is a bit brighter, naughtily pushing back against the boundaries of the curatorial rationale.
Biography
Robert Viner Jones (AKA Bob Window) is a contemporary printer/painter based in Adelaide (Kaurna Country). Robert’s works offer bold, uncompromising graphics - stark and confident in their nature. Trained in Sydney, obsessed with design and colour, Robert’s works draw heavily on fearlessness of mid 20th century design plus an unbridled willingness to simply paint and print things that make him smile.
https://bobwindow.com.au/
Artist Statement
My works are representational and figurative explorations of the subconscious. I like to use narratives, people and places sourced from my life. The imagery of naive childish spooky dreams and silly fears rest at the bottom of the subconscious of the artist, here they are brought to the surface to be seen in their curiously cute seriousness and sulky playground dissatisfaction. I use deeply rich, bold and unnatural colours to illuminate solitary figures in their own environments, blurring the line between real and surreal. My work focuses on people and the deep personal mental worlds they create, how they exist within those spaces and the relationship outside reality has with this space.
Biography
Billy Oakley is a South Australian Artist exploring the subconscious through narrative imagery, people and place through his oil paintings. The imagery of naive childish spooky dreams and silly fears rest at the bottom of the subconscious, and here they are brought to the surface to be seen in their curiously cute sulky seriousness. Billy has exhibited at Floating Goose, Urban Cow, Collective Haunt, Brunswick Street Gallery, Mixed Spice Studios and The Mill.
https://www.billyoakley.com/
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
This workshop will include walking around Adelaide CBD.
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.
Join artist Chris Siu for a walking photography workshop. Learn about Chris’s approach to crafting narratives through sequences of photographs, focusing on the development of a visual language rather than individual images. Bring your own digital camera (camera phone, digital camera) and take a walk along Angas Street to the iconic Central Markets, collecting images and building a narrative.
What to expect:
The workshop will start at The Mill on Angas Street with an introduction from Chris and an opportunity to view his exhibition Riot on an Empty Street. Participants will be given the opportunity to devise a ‘mood’ or ‘theme’ for their series before walking with the group along Angas Street to the Central Markets on Gouger Street.
Participants will spend some time taking photos on their own devices, focusing on everyday life and following intuition. We will then return to The Mill for refreshments and to share with the group. The workshop will include an opportunity to chat about the photographs taken and to share the stories and narratives created through the photographic series.
Experience level:
No experience necessary. Participants must bring their own digital camera and must know how to operate it (no technical support will be provided about camera settings etc.) Some walking is required, please get in touch if you have any accessibility questions.
Chris Siu is a Hong Kong-born photographic artist living and working on Kaurna Yerta in Tarntanya Adelaide. Informed by the traditions of documentary photography, Chris’s work investigates and chronicles the intricate relationships that lie within his surrounding social landscapes. Chris’s practice is profoundly influenced by the flux of sociopolitical happenings in his homeland Hong Kong and his ever-changing place within it. Through exploring notions of layered histories and geopolitics, Chris’s work seeks to offer a reflection on personal and communal experience, pivoting around representations of civil unrest, diasporic experience, cultural displacement and marginality within contemporary existence.
Chris has exhibited throughout Australia, beginning with his feature at the 2019 Head On Photo Festival. Subsequently, he has exhibited at venues including Nexus Arts, Adelaide Contemporary Experimental, Centre for Contemporary Photography, and Perth Institute of Contemporary Arts.
You can find Riot on an Empty Street inThe Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).
Gallery I 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.
Join Chris Siu and The Mill's Visual Arts Curator Adele Sliuzas for a chat about his new exhibition 'Riot on an Empty Street', now showing in Gallery I at The Mill.
Chris Siu developed Riot on an Empty Street as part of The Mill’s Visual Arts Studio Residency program presented in cooperation with the Mahmood Martin Foundation.
Where: The Breakout at The Mill, 154 Angas St, Kaurna Yarta
Cost: From $18-26
Duration: 60 minutes
Grim Grinning Ghosts will be held in The Breakout at The Mill. Please come to the Exhibition Space at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Accessibility
Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.
The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com
On a day after grief, one lonely artist is left to wade through the belongings of some dead relatives, only to find they have walked into an otherworldly intervention. In a one-of-a-kind choreographic séance, the audience will be guided into the afterlife of those living, and deceased. Horrific? Yes! Sad? Absolutely! This solo work is one that will stay with you; it might even follow you home…
Created and performed by Alix Kuijpers, winner of the 2023 Adelaide Fringe Emerging Artist Award.
“It is exciting to witness emerging artists who are both talented and perceptive: Kuijpers is obviously a deep thinker and definitely a person of many talents.” Stage Whispers
“The hour is jam-packed with intense, varied, and embodied emotion conveyed through divergent and fragmentary scenes. Alix oscillates between grief, terror, and joy in jarring yet curated ways through an expert command of voice and body. There are also sensual, tender moments which are undoubtedly my favourite points of the performance, perhaps for their slow honey-like contrast to staccato bursts of pain. Flashes of true comedy also surface like guiding lights in a fearful fog… This is a performance for those who know love and loss. This is an important, exploratory work which shouldn’t be missed.” Marina Deller
“Grim Grinning Ghosts is more than a contemporary dance work, its an experience.” ★★★★.5 The Adelaide Show Podcast
This show was developed under The Mill x Adelaide Fringe Centre Stage Residency, and produced by The Mill and Alchemy Collective.
Alix Kuijpers is an emerging freelance choreographer and sound designer whose queer based work has garnered a strong reputation for creating contemporary dance in South Australia. Kuijpers’ notable achievements include becoming the first dance honours student at a South Australian institution, receiving first-class honours from Flinders University for his solo work IMMATERIAL.
Alix recently spent time in the USA and Europe participating in major dance festivals such as B12 and Orsolina 28 and working with practitioners such as Jacob Jonas the Company and Thar Be Dragons. His most notable sonic commissions include creating the sound score for Motus Collective’s work The Leftovers in 2022 and again in 2023, he also created the score for METTLE by Circus SA and for Ceremonial by Amelia Watson, which premiered at the ResiDanza di Primavera in Italy.
In 2023, Kuijpers was awarded a Best Dance weekly award for his Adelaide Fringe debut ‘i know the end’ and later in the season received the coveted Emerging Artist Award for Fringe 2023.
Alix is passionate about representing as a South Australian artist and champions the emerging artist voice through his roles and initiatives as Dance Hub SA's 2023 Associate Artist and as one of Carclew’s 2023 Sharehouse Residents.
Image: Chris Siu, Tattoo of a Wilting Bauhinia - Adelaide, South Australia, (detail), 2023, from the series Then We Keep Living Vol. 2. Courtesy of the artist.
You can find Riot on an Empty Street inThe Mill’s Gallery I, located at 154 Angas St, Kaurna Yarta (Adelaide).
Gallery I 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.
The Mill is excited to present Riot on an Empty Street, a new exhibition of photographs by Chris Siu derived from his ongoing project Then We Keep Living. Through medium format analogue photography, Chris explores his relationship with his homeland, Hong Kong. The work navigates the experience of mass civil unrest, as experienced in Hong Kong and living in diaspora here in Australia. The powerful images give the viewer a sense of dis-ease and tension, incorporating protest, the body, signifiers of colonial and authoritarian resistance and the political power of the masses contrasted with bone-aching isolation associated with cultural displacement, marginalisation and disconnection. Chris’ approach to image-making is cultural and academic as well as deeply feeling and intuitive. He offers us a very personal entry point into a political situation that many have observed through the cycles of journalism.
Chris Siu developed Riot on an Empty Street as part of The Mill’s Visual Arts Studio Residency program presented in cooperation with the Mahmood Martin Foundation.
My residency at The Mill has been dedicated to developing the long-term photography project titled Then We Keep Living. The project navigates my relationship with Hong Kong through a two-volume narrative presented in medium format analogue photography. This exploration takes place against the backdrop of the 2019 mass civil unrest in Hong Kong, followed by my life in diaspora here in Australia.
The two respective volumes delve into representations of dispossession and defiance amidst the city’s ongoing socio-political transformation, contrasting with poignant reflections on diasporic experience and its isolating facets associated with cultural displacement, marginalisation, and disconnection. The project stands as a testament to the nuanced interplay of political dilemmas, self-discovery, and the frequently overlooked, profound repercussions of civil unrest.
Chris Siu is a Hong Kong-born photographic artist living and working on Kaurna Yerta in Tarntanya Adelaide. Informed by the traditions of documentary photography, Chris’s work investigates and chronicles the intricate relationships that lie within his surrounding social landscapes. Chris’s practice is profoundly influenced by the flux of sociopolitical happenings in his homeland Hong Kong and his ever-changing place within it. Through exploring notions of layered histories and geopolitics, Chris’s work seeks to offer a reflection on personal and communal experience, pivoting around representations of civil unrest, diasporic experience, cultural displacement and marginality within contemporary existence.
Chris has exhibited throughout Australia, beginning with his feature at the 2019 Head On Photo Festival. Subsequently, he has exhibited at venues including Nexus Arts, Adelaide Contemporary Experimental, Centre for Contemporary Photography, and Perth Institute of Contemporary Arts.
The Mill’s Visual Arts Studio Residency is presented in co-operation with Mahmood Martin Foundation.
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
Exhibition opening: Friday, February 9, 5:30-7:30pm
The Exhibition Space, 154 Angas St, Kaurna Yarta
Free entry, all welcome
You can find Multiverse inThe 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.
The Mill is excited to present Multiverse, a new exhibition by Adelaide-based artist Liliana Pasalic. This exhibition presents a selection of new tapestries in tufted yarn on monk cloth. The work builds on Liliana’s former career in industrial design, as well as her practice in the visual arts, including painting. She skillfully uses the three-dimensional tufting in a way that is suggestive of abstract painting, combining positive and negative space with an adept use of colour and texture. She has also included a large tapestry-and-light-based installation pushing the medium to new and contemporary realms. The work draws on Liliana’s knowledge of contemporary and historical textile and tapestry practices, and imbues seriousness alongside humour in her art.
Multiverse explores the translation of visual cultural material into tapestry. I have collected a lot of photographic source materials of pasted-up posters in the urban environments of the three cities where I have lived: Adelaide, London and Zagreb. Within these photographs I find and extract motifs, formed by the ripped posters, degraded by weather and also remnant graphic elements. This exhibition is a woven visual library, an attempt to alchemize my familiar psychologically mapped home environments into one visual poem. I invite the viewer to observe urban debris in their own immediate environments and hopefully be inspired to use it in their creative projects. This body of work is a continuation of my previous work in broader themes of home and crossing borders between mediums. The exhibition aims to offer a contemporary take on non-traditional/neglected mediums of contemporary tapestry and contemporary painting. For this exhibition I am using only compostable materials of wool, wood and cotton monk cloth, which is in alignment with environmental aspects of The Mill's vision. The exhibition is one possible way of blurring disciplines and mediums and contemplating history of art.
Liliana Pasalic has a background and formal education in industrial design, which organically transmuted into a full-time art practice over the last decade. Her practice centers on painting and tapestry while drawing from design recollections and blurring the boundaries between these vaguely intertwined forms. Pasalic’s work delves into art history, identity, the subconscious and relationships. Occupying the realm between abstraction and figuration, it references women’s roles, stereotypical suburban depictions, and iconic symbols infused with her individual outlook, both as creator and observer. Over the last 20 years she has exhibited design and artwork in solo and group shows around the world, including Zagreb, Ljubljana, New York, Bruxelles, Vienna, Adelaide, Jerusalem, Canberra. Pasalic is represented by Studio Gallery in Melbourne, Sydney and Brisbane and The Nada Gallery in Sydney. In 2023 she was a resident in The Mill as well as chosen as a finalist in the National Capital Art Prize in Canberra.
This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.
You can find Gulayi and Annealed Bone inThe Mill Exhibition Spaces, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
The Mill invites you to join us for the closing event of Gulayi by Chantal Helnley and Alice Hu's 柔韧的骨头 (Annealed Bone) and join Alice for a chat about her work.
Note: Please arrive at 5:45pm arrival for a 6pm sharp start. This event will be 1 hour (including the Q&A).
This showing and Q&A will be held in The Mill Breakout. Please come to the Exhibition Space at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive at 5:45pm arrival for a 6pm sharp start.
This event will be 1 hour (including the Q&A).
Accessibility
Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.
The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com
Gaslighting, manipulation, cliques, performative activism, lies, rumours and ruining reputations.
How far will we go to get ahead? Do we care about who we destroy along the road to “success”?
She's Evil touches on the pressures that are placed on young people who are breaking their way into the work industry and what they think they have to do to be accepted whether that be shrinking themselves to fit the mould or not speaking up or taking charge because they are afraid of being labeled as a bitch, difficult, a liability or ‘Evil’.
Because that's just the way it is right?
Taylor will be collaborating with an outstanding cast of local creatives - Jamie Hornsby, Felicity Boyd and Max Garcia-Underwood. This project is fueled with passion and with the help of this amazing team they will be able to create something special.
Content warning:
Mental Health, Talk of Suicide and Sexual Assualt/Harassment.
Taylor Nobes is a professionally trained actor, singer & theatre maker based in South Australia and a 2019 graduate from Adelaide College of the Arts. Taylor has a passion for creating innovative art with elements of music, dark comedy and physical theatre, with a strong focus on mental health awareness.
Taylor has worked and collaborated with BRINK Productions on The Bridge of San Luis Rey (2021) and performed in FRANK Theatres’ Chameleon (2020) and then again as part of the SALT Festival in 2021.
Taylor’s original work Does It Please You? debuted as part of the Adelaide Fringe 2021 and was the recipient of the week 4 Best Emerging Artist Award and was the winner of The Holden Street Theatres Award for 2021. The remounted version of Does it Please You? played its latest season as part of the Adelaide Fringe 2022 at Holden Street Theatres.
Taylor’s most recent work MUSIC & YOU - Cabaret’s Not Really My Thing (2023) was a recipient of an Adelaide Fringe Best Cabaret Award.
Taylor was part of Windmill Theatres national tour of Hiccup July - August 2023.
You can find Hamish and Juliane’s work inThe Mill Showcase Space, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
The Mill is excited to present 柔韧的骨头 [Annealed Bone], a new Showcase exhibition by previous studio resident Alice Hu. The exhibition features new work in ceramic, glass and metal, some of which have been developed by Alice while she undertook the George Street Studio Residency, supported by Helpmann Academy.
Alice’s multi-disciplinary practice is conceptually and materially rich, exploring themes of immigration, acculturation and complex understandings of self. Sculptural works offer the comfort of familiar materials, smooth ceramic and glistening glass. However, Alice reframes materiality through sometimes strange assemblages, de-and-re-constructions, and a complex aesthetic unique to her practice.
The Mill Showcase is a gallery space dedicated to artists who work in studio spaces at our Angas Street location, exhibiting some of the artworks that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
Alice Hu is an emerging artist with an Honours of Contemporary Art and Design, living and working on Kaurna Land, Adelaide. They work across mediums including ceramics, glass, painting, tattooing, and installation, drawing from lived experiences to explore concepts of multiculturalism, equality, freedom, life and nature. Her current practice is deeply influenced by her unique background and cultural art-form.
The use of ceramics stems from an interest in philosophy, childhood stories and mythologies. Alice aims to create art forms with multicultural aesthetics to promote the beauty and necessity of a diverse society while investigating how different cultures interact. Alice has participated in multiple art programs, over-sea experience and workshop across USA, Italy, New Zealand, Japan and China, and have been apart of exhibitions in Adelaide including Bridge (The Main Gallery, 2021), Kaleidoscope (Praxis Art Space, 2021), Pendulum (Nexus Arts, 2022), VASL (Kerry Packer Civic Gallery, 2023) and currently has a studio residency at George Street Studio and was a studio artist at The Mill.
In my exhibition at The Mill, recycled metal and broken ceramics have found their second life together. The two distinctly different mediums has a strong character on their own and tells its unique story being together that forms a life and journey. The work has been welded, and the material have been carefully arranged to create an interesting and unique aesthetic. The different shapes, textures and colours of the ceramic and metal pieces interact with each other to create a dialogue between the two materials. The combination of the two materials creates a dynamic composition that is both visually appealing and emotionally evocative, it is very inspiring and a sentimental moment to see your broken, once shattered work to be alive again.
Through the George street residency I sought to learn more skills that can help me define my concepts and to build artworks that can express my story. For my recent group exhibition, ‘Pendulum’ in Nexus Arts Gallery, I was supported by the Helpmann Academy’s Creative Boost Grant, and created several large ceramic works. As I worked on large ceramic sculptures, over 1 metre in height, I experienced lots of technical issues. It was not only a difficult process to make such large works, but I also encountered a number of problems during the drying and firing processes. One of the most unexpected, but ultimately fortuitous, outcomes was that the two large works exploded in the kiln during the firing process. It was a shocked like no other when I opened the kiln, but I then came to understand the resemblance between the broken work and my immigration experience, the world fell apart on me when I found out I had to move and leave everything I used to know behind. It was devastating, but yet an inseparable part of my life and my experience. The ceramic works were represented in the exhibition at Nexus as shattered pieces, and this process of breaking, rethinking, and “reassembling” became essential to actually ‘finishing’ the work.
As I continue to develop as an artist and a person with a multicultural background, I have learnt more about the cultural history of both countries I have called home throughout my life, China and Australia. I realised how my unique aesthetics built from my multicultural background is at the core of my practice. As much as I loved this broken work and its strong impact on me, I need to further develop this concept.
I have re-constructed myself and build works with my complex aesthetics, by combining these seemly irrelevent materials. As much as the shattering and breaking is what made this installation meaningful, it was essential for me to learn how to bring the pieces back together. I created this standing work, which acknowledges that while the pieces are still broken, they have been reassembled in reference to the re-construction of an identity after traumatizing experience or damage.
These works were created mainly with the support from my George Street Studios Residency (through Helpmann Academy )
You can find Hamish and Juliane’s work inThe Mill Showcase Space, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
Note: Please arrive at 5:45pm arrival for a 6pm sharp start. This event will be 1 hour (including the Q&A).
This showing and Q&A will be held in The Mill Breakout. Please come to the Exhibition Space at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.
Please arrive at 5:45pm arrival for a 6pm sharp start.
This event will be 1 hour (including the Q&A).
Accessibility
Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.
The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com
Grim Grinning Ghosts is looking to experiment with different combinations of Alix Kuijpers' performance practices to create a unique lived experience. In a one-of-a-kind choreographic séance, the audience will be guided into the afterlife of those living, and deceased.
Alix's queer based cross disciplinary exploration of interactive theatrical elements, sound design and choreographic exploration are the core pillars of this new work. This solo work is asking audiences to come and experience a full spectrum of emotion derived from campy theme park attractions, personal loss and missed connections.
Alix will also be bringing this development to life with the assistance of the talented Alchemy Collective.
The showing will be followed by a short Q&A with Alix, hosted by The Mill CEO / Artistic Director Katrina Lazaroff. Audiences will have the opportunity to ask questions about the development and provide feedback about the performance.
Alix Kuijpers is an emerging freelance choreographer and sound designer whose queer based work has garnered a strong reputation for creating contemporary dance in South Australia. Kuijpers’ notable achievements include becoming the first dance honours student at a South Australian institution, receiving first-class honours from Flinders University for his solo work IMMATERIAL.
Alix recently spent time in the USA and Europe participating in major dance festivals such as B12 and Orsolina 28 and working with practitioners such as Jacob Jonas the Company and Thar Be Dragons. His most notable sonic commissions include creating the sound score for Motus Collective’s work The Leftovers in 2022 and again in 2023, he also created the score for METTLE by Circus SA and for Ceremonial by Amelia Watson, which premiered at the ResiDanza di Primavera in Italy.
In 2023, Kuijpers was awarded a Best Dance weekly award for his Adelaide Fringe debut ‘i know the end’ and later in the season received the coveted Emerging Artist Award for Fringe 2023.
Alix is passionate about representing as a South Australian artist and champions the emerging artist voice through his roles and initiatives as Dance Hub SA's 2023 Associate Artist and as one of Carclew’s 2023 Sharehouse Residents.
The Breakout at The Mill, 154 Angas Street, Kaurna Yarta
$30 (+ booking fee)
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.
Work with actor and mask performer, Jacob Rajan, to discover what it is to act at the level of mask.
What to expect:
Participants will work with Indian Ink’s own mask collection of Balinese Topeng masks to enable them to experience, through exercises, games and improvisation, the truth of the actor’s actions and the essence of theatricality. Participants should wear comfortable clothes they can move in.
Experience level:
Ideal for acting/theatre students and/or professionals wanting to develop mask work skills.
Jacob is a founding partner of Indian Ink and co-wrote all of Indian Ink’s plays as well as performing in many of them.
He is a graduate of Toi Whakaari: NZ Drama school, Otago University (B.Sc Microbiology) and Wellington Teacher’s College. Jacob is an Arts Foundation Laureate and a Member of the New Zealand Order of Merit (MNZM) for services to theatre.
Indian Ink is one of New Zealand’s most successful theatre companies. Founded by Justin Lewis and Jacob Rajan (MNZM) over 25 years ago, it has generated 13 national and international awards, critical acclaim, standing ovations and sell out seasons. Since 1997 over 510,000 people have had their lives enriched by their original plays.
Alongside a whānau of multi-talented artists, Indian Ink creates vibrant, fresh, culturally diverse theatre that combines artful storytelling, mischievous wit and theatrical magic in a way that celebrates our differences but connects us through our shared humanity. This truly unique style promotes community and fosters empathy in audiences across cultures.
Led by Kuik Swee Boon, Founder and Artistic Director of T.H.E Dance Company, the workshop will include improvisational prompts and tools to guide participants to arrive at nuanced states of physical and physiological connectedness.
About HollowBody:
HollowBody™️ is the signature methodology and movement philosophy advocated by founding artistic director and main choreographer of Singapore’s T.H.E Dance Company, Kuik Swee Boon; it is the current methodology with which the dance artists at T.H.E train. Neither a mere movement aesthetic nor an existential state of being, it is an experiential process, utilising improvisational tools to guide practitioners towards a heightened physiological awareness that resonates in their movement choice, approach, and expression.
HollowBody™️ is based on the understanding of the body as the foundation of our world. As a vessel for thoughts, emotions and energy, our embodied experiences and knowledge transcend language and logic. The HollowBody™️ methodology seeks to establish in its practitioner a level of trust and access that can surface these deep impulses and needs, and unearth an innate connectivity between mind, heart, and body. With the practitioner’s curiosities, potential, and limitations becoming wholly available to themselves, self-understanding and creative expression unfold.
Today, long-term practice of the HollowBody™️ methodology has fed naturally into T.H.E’s creation and performance voice. We at T.H.E believe that with HollowBody™️, dance and movement can be embraced as a fundamental pillar in life that offers a deep connection to the body, and in turn, the world.
What to expect:
Participants will be given improvisational prompts and tools, guided to listen to their instinct and impulses, and to rediscover movement as a unique expression and identity.
Experience level:
Suitable for professional and semi-professional dance artists, dancers, full-time dance students aged 18 and above, and movement enthusiasts who are comfortable with improvisation.
The Human Expression (T.H.E) Dance Company was founded in 2008 by Artistic Director Kuik Swee Boon. Rooted firmly in Singapore yet universal in its perspective, T.H.E's contemporary dance works reveal the body as a medium for exploring and celebrating the human condition.
Dance artists at T.H.E are immersed in the Company's signature methodology, HollowBody™️, which guides them to access their deeper instincts and impulses through movement. The Company's movement vocabulary is distinct in its intensely personal aesthetics, yet thrilling in its diversity. Driven by a sincere desire to uncover the intricate, complex and oft-times overlooked dimensions of human existence, the Company's incisive observations on the human condition and its original creations are an essential mirror to the issues and rhythms of contemporary life.
As one of Singapore's seminal contemporary dance companies, T.H.E has performed and toured at many major and prestigious festivals in Singapore, Malaysia, Indonesia, Thailand, Laos, South Korea, Japan, Taiwan, China, India, France, Italy, Poland, Denmark, Latvia, United Arab Emirates, Australia, and New Zealand.
Based on its vision of contemporary dance as a medium for nurturing human potential, T.H.E has also actively initiated numerous platforms to engage young artists and the wider public. Since it was founded, the Company also started its semi-professional wing, T.H.E Second Company, which identifies and mentors dance artists who aspire to reach a professional standard of contemporary dance. In 2010, T.H.E also founded the cont·act Contemporary Dance Festival (previously known as the M1 Contact Contemporary Dance Festival) – the country's first annual contemporary dance festival to showcase local and international artists. The Company also regularly runs public classes, workshops, and customised programmes for schools and the community.
Kuik Swee Boon Founder and Artistic Director of T.H.E Dance Company (est. 2008) and its annual cont·act Contemporary Dance Festival (est. 2010), Kuik Swee Boon danced in Compañia Nacional de Danza (CND) from 2002—2007, performing in works by renowned choreographers such as Nacho Duato, Jiri Kylian, and Ohad Naharin. Prior to CND, he danced in Singapore People’s Association Dance Company and Singapore Dance Theatre. A 2007 Young Artist Award recipient, he was nominated for the Benois De La Danse Award in 2003, and selected for the 2021—2023 Fellowship Programme with the International Society for the Performing Arts (ISPA).
Under Swee Boon’s direction, T.H.E has become a seminal dance company that trains in his HollowBody™️ methodology, with a repertoire of works that has toured many international festivals. Even when the pandemic hit, his 360° virtual reality adaptation of PheNoumenon (2019), amongst other digital projects, made its rounds to Italy and Israel in 2021. Most recently, he was commissioned by Esplanade’s da:ns festival 2022 to create Infinitely Closer, which also marked the opening of the new Singtel Waterfront Theatre.
Kuik Swee Boon
Founder and Artistic Director of T.H.E Dance Company (est. 2008) and its annual cont·act Contemporary Dance Festival (est. 2010), Kuik Swee Boon danced in Compañia Nacional de Danza (CND) from 2002—2007, performing in works by renowned choreographers such as Nacho Duato, Jiri Kylian, and Ohad Naharin. Prior to CND, he danced in Singapore People’s Association Dance Company and Singapore Dance Theatre. A 2007 Young Artist Award recipient, he was nominated for the Benois De La Danse Award in 2003, and selected for the 2021—2023 Fellowship Programme with the International Society for the Performing Arts (ISPA).
Under Swee Boon’s direction, T.H.E has become a seminal dance company that trains in his HollowBody™️ methodology, with a repertoire of works that has toured many international festivals. Even when the pandemic hit, his 360° virtual reality adaptation of PheNoumenon (2019), amongst other digital projects, made its rounds to Italy and Israel in 2021. Most recently, he was commissioned by Esplanade’s da:ns festival 2022 to create Infinitely Closer, which also marked the opening of the new Singtel Waterfront Theatre.
Exhibition opening: Friday, October 27, 5:30-7:30pm
Finissage: Friday December 1, 4:30-6:30pm
The Exhibition Space, 154 Angas St, Kaurna Yarta
Free entry, all welcome
You can find Hamish and Juliane’s work inThe Mill Showcase Space, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
The Mill is excited to present a new Showcase exhibition featuring work by Hamish Fleming and Juliane Brandt. Hamish’s oil paintings are moody and evocative, capturing narrative elements within his life - studio still life’s, discarded studies on the green velvet chaise lounge, the artist's shoes. Juliane’s sculptural work situates small clay figures and busts as the head of burnt matches, speaking about the power of fire to burn, but also to regenerate.
The Mill Showcase is a gallery space dedicated to artists who work in studio spaces at our Angas Street location, exhibiting some of the artworks that have been produced under our roof. The Mill Showcase profiles our artists, so that you can put a face to the name and get to know some of our dedicated makers.
Hamish Fleming is a contemporary realist painter currently based in Adelaide (Kaurna Country). Fleming is self-taught, working both with and against the long-standing traditions of realism. In 2023 Hamish has been a finalist in the Bluethumb Art Prize, Centre for Creative Health Art Prize, and Smallacombe Prize, and winner of the Young Artist Category, Adelaide Parklands Art Prize.
Artist Statement
My practice draws upon many influences, ranging from the classical masters and post-modernism, to gothic and dirty realism literature. I work solely from life, to convey the subtler elements of the human experience through frequently mundane subject matter.
Juliane Brandt is a figurative sculptor, her artworks are an invitation for the viewer to engage and discover intricate facial expressions that visualise an interaction with the surroundings.
Born in Berlin, Germany, and based in Adelaide since 2022, Juliane´s work evolved from a long process of studies and experiments formed by different influences. Throughout her life, she was able to experiment with many different materials and artistic forms, further developing her skills by gaining extensive practical experience during her Art & Design studies in Berlin and London.
Juliane has presented her art in various exhibitions across Europe. Her artwork is on permanent display in different venues and also found in private collections. In 2023, she received a People’s Choice Award at the ‘Sculpture in the Garden’ Exhibition at Wollongong Botanic Garden, NSW.
Artist Statement
The Enlightened by Nature Series represents the celebration of life and nature through subtle expressions that become evident upon closer inspection.
My work draws attention to the fragility of nature and the ability to regenerate when given the opportunity and place. Fire management, known as ‘cultural burning’, is part of how First Nations people protect their land, plants and animals. Controlled fires allow the land to rejuvenate and many plants to thrive.
Symbolised by a simple tool – a matchstick – that becomes truly unique once it is lit, this piece of art celebrates the natural life cycle, the way we exist, interact and adapt to our environment – the foundation for the diversity of nature. They received a People’s Choice Award at the ‘Sculpture in the Garden’ Exhibition at Wollongong Botanic Garden in 2023.
Exhibition opening: Friday, October 27, 5:30-7:30pm
Artist Talk: Friday, December 1, 5:30pm
The Exhibition Space, 154 Angas St, Kaurna Yarta
Free entry, all welcome
You can find Gulayí inThe Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
The Mill is excited to present Gulayí [Woven Vessel], a new exhibition by Quandamooka and Mununjali artist Chantal Henley as part of Tarnanthi 2023. Working with textiles, Chantal explores body adornment through garments, sculpture, dance and film, embedding her connection to her Grandmother’s country and her own experience as a mother.
Gulayí [Woven Vessel] is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.
Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.
Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.
From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.
Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.
Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayí songlines.
Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayí (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.
Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.
Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.
You can find Gulayí inThe Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
Join Quandamooka and Mununjali artist Chantal Henley for a weaving fundamentals session at The Mill. Chantal is an incredible textile artist, and this workshop is a fantastic opportunity for participants to learn about techniques and materials, and hear more about Chantal's knowledge of weaving.
What to expect:
Chantal will demonstrate introductory techniques to woven body adornments. Participants will have access to materials and get to try new techniques, and can take home their creations on the day.
All materials provided
About the exhibition:
Gulayí: Woven in the Womb is a new exhibition by Chantal Henley as part of Tarnanthi 2023. Working with textiles, Chantal explores body adornment through garments, sculpture, dance and film, embedding her connection to her Grandmother’s country and her own experience as mother.
Gulayí (Woven Vessel) is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.
Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.
Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.
From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.
Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.
Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayi songlines.
Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayi (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.
Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.
Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.
You can find Gulayí inThe Mill Exhibition Space, located at 154 Angas St, Kaurna Yarta (Adelaide).
The Exhibition Space 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.
Join Quandamooka and Mununjali artist Chantal Henley for an intimate Artist Talk, discussing her exhibition Gulayí [Woven Vessel] as part of Tarnanthi 2023.
Gulayí (Woven Vessel) is a gathering of exclusively hand woven, hand printed garments and body adornments that highlight the prominence of retaining and reclaiming language, dance, song and design.
Embellished in gathered fibers, up cycled fabrics, shells, feathers and clay, Gulayí features custom prints that are a direct tribute to my Quandamooka and Mununjali kinship, paying homage to Country and Water through woven techniques reclaimed through the many Gulayí makers that carry and contain the stories of our Elders.
Chantal Henley is an Artist & Designer from the Ngugi and Mununjali clans of the Quandamooka and Yugambeh peoples of South - East Queensland.
From an early age, Chantal connected to culture through Dance and Song and soon became familiar with textiles through both of her Grandmothers, encouraging her to learn various techniques and explore fabrics and fibres.
Through a brief stay at design school, she explored western design fundamentals and obtained insight into the production and manufacturing processes within the textile and fashion industry, soon deciding to journey elsewhere with her creativity.
Henley credits her time with master weavers and their unconditional effort to exchange with her through kinship and storytelling, contributing to her ability to regain and retain those Gulayi songlines.
Chantal carries her strong message of connection and retaining ancestral skills and techniques through her woven Gulayi (bag, vessel) and hand painted Ungarie (Swamp Reed) prints included in her collections and body of work, paying homage to her Mununjali and Ngugi songlines.
Her textiles and body adornments have been showcased and exhibited by Artisan, National Gallery of Australia, Redland Art Gallery, Jam Factory, Art Gallery Gold Coast and Cairns Indigenous Arts Fair, including publications such as Peppermint & RUSSH Magazine.
Henley is currently based in Tarntanyangga (Adelaide) Kaurna Yerta with her partner and children.
You can find CHARTS in The Mill’s Exhibition Spaces, located at 154 Angas St, Kaurna Yarta (Adelaide).
Open daily, 10am-4pm.
The Mill is pleased to host the second CHARTS Community Housing Arts Awards 2023. The Community Housing Art Awards were created to celebrate and showcase the creative diversity, depth and talent of tenants of community and social housing.
The exhibition features a shortlist of entries from established artists, mid-career and emerging artists who live in community housing across South Australia. From paintings, drawings, photography, sculpture to digital and graphic art, poetry and literature, CHARTS is a celebration of creativity!
We welcome art lovers from the Adelaide community and beyond to join us for this exhibition.
Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.
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.
If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com
Photo: Luke Currie-Richardson and Tjarutja Dance Collective.
The Mill is facilitating a series of professional development workshops at The Mill, Adelaide, with dance industry leaders from BlakDance QLD.
Workshop 1: Intro Yarn, April 21
Getting to know each other, discussing each others practice/creative goals, about BlakDance, the organisations history, programs, how we operate and work with artists.
Workshop 2: Business Basics for Independent Artists, April 28
Business Basics for Independent Artists - the decision to set up as a business, minimum things needed to apply for funding, enter contracts etc, auspicing vs self-managed.
Workshop 3: The First Nations Dance Ecology, July 28, 5:30pm - 7:30pm
A workshop on how new work is funded and developed, overview of the sector, who is making work, where is it being produced, the different business models/structures in which artists are making work e.g. independents, companies and collectives presented. BlakDance will be delivering this workshop online from Brisbane.
Workshop 4: Managing Cultural Protocols, September 8, 5:30pm - 7:30pm
Merindah Donnelly (Wiradjuri) Co-CEO & Executive Producer and Kate Eltham Co-CEO & Business Director from BlakDance will be facilitating the workshop and will have guest speaker Olivia Adams (Wulli Wulli) who is Associate Producer and Associate Artist at Blakdance.
Workshop 5: Grant Writing/Producing skills, November 3, 5:30pm - 7:30pm
Co-CEO & Business Director Kate Eltham from BlakDance will be leading this workshop about grant writing and producing skills.
