The second FAIR ISLE opening is 6-8pm Wednesday 23 April with work by: Linden Braye, Sue Callanan, Sach CattsClara Chow, Brigitta Gallaher, Barbara Halnan,  Justin Henderson,  Andrew Simmons Sardar Sinjawi,  Vicky Versa, John von Sturmer and Skye Wagner. This is the third iteration of FAIR ISLE, and will be open 11am - 5pm  Sat - Sun 26 - 27 April.


Andrew Simmons JERK (detail) 2014 

Justin Henderson Redfern Gold 2014
John Von Sturmer Turtle's Head 2012


FAIR ISLE 2 open Saturday 19 and Sunday 20 April 11am - 5pm

L-R: Rose Anne McGreevy, Sue Callanan (artwork& person),
John Von Sturmer (person), Helen L Sturgess, Brigitta Gallaher

photo Brigitta Gallaher
front: Sue Callanan, back: Alan Rose

Bettina Bruder

L-R: Rose Anne McGreevy, Barbara Halnan, Sue Callanan
Barbara Halnan, Helen L Sturgess
Skye Wagner


FAIR ISLE - first iteration with Amy Prcevich

Fair Isle: take one

Taking its name from a traditional knitting technique used to create patterns with multiple colours, the works in Fair Isle form a tapestry of conversations around fluidity and structure.

Bettina Bruder’s Diagramatic Entanglements is an ensemble of elastic bands stretched to their limits and connected to each other and the corners of the building. The work gently directs viewers to draw their gaze to the periphery of the artwork and on to the structure of the building. The audience is encouraged to touch, pull and play with the bands causing them to bob, shudder and bounce. The viewer induced movement and mutation of the work makes us ponder the moments of fluidity and spontaneity that can occur within a fixed structure.

Fiona Davies’ Memorial/One shift November 30 presents a field of red crosses embroidered with buttons onto kitchen strainers and is coupled with Blood on silk: surgery – a woven stream of red ribbon. The latter is reminiscent of brick work or DNA strands, depending on whether your focus is drawn to the wall on which Blood on silk rests or its relationship to the accompanying work. Together the works are a prelude to a sense of medical emergency with a contingency plan already set.

Helen L Sturgess’ Another Life is quite literally a drawing with paper. High quality drawing paper cascades from the ceiling in a graceful crumple and the work hovers in a state of contemplation. What form have we just missed? What will evolve next?

In Rose Anne Mcgreevy’s work a sculptural cluster of wooden panels and pegs is arranged on the floor and interrupts our movement through the exhibition space. On opening night it was an olfactory as well as visual experience. The delicious aroma of newly assembled building materials calling to mind the very process that was involved in constructing the work. Knowing Fair Isle is only in its first of five incarnations this work seems a perfect entry point into ideas and forms to re-explore and build upon in the coming weeks.

Fiona Kemp’s selection of digital images make reference to water conservation in the Lockyer Valley. In one image a deep red gush of colour bursts forth from a sprinkler, in the other an assembly of water sprinklers are captured ‘at attention’ calling forth ideas about defence and weaponry. In humanising the simple technology at the heart of a water supply system the work has an almost visceral effect as it mimics the primal anxiety which comes from a threat to a precious, all-encompassing resource.

Alan Rose’s two panel light installation is a soft, gentle explosion of colour. The seamless transition from hue to hue in arrangements of angulated spheres across stark black boards is so subtle and sublime that it is more than dream-like, but meditative or hallucinatory.

At the heart of all these works is a curated conversation about states of transition and in each form we get the sense that we are merely looking at one point in the life-span of an object or idea. As viewers we have the responsibly to be imaginative and contemplative in order to create ideas about the past and future based on these momentarily fixed states that form a connection between what is and what will be.

Amy Prcevich

Alexander Vine - photostream of Fair Isle 1 opening

Lean Richards - alt media

Bettina Bruder
right: Fiona Davies
Fiona Davies

Luke (left) and Alan Rose (right)
mid: Helen L Sturgess
Rose Anne McGreevy

Fiona Kemp

Photos: Fiona Kemp



FAIR ISLE - first iteration

Fair Isle's first opening on Friday 11 April 6-8pm will show new work by Bettina BruderFiona Davies, Fiona Kemp,  Rose Anne McGreevyAlan Rose and Helen L Sturgess.  Fair- Isle will then be open 11am - 5pm Sat - Sun 12-13 April. 

Their work can also be seen on Saturday 19 and Sunday 20 April, 11am - 5pm, with the work of the next group of 6 artists: Linden Braye, Sue Callanan, Sach CattsBrigitta Gallaher, Barbara Halnan and Skye Wagner.  

Alan Rose Cycloide in Vivid 2013


FAIR ISLE five weeks from Friday 11 April 6 pm - Sunday 11 May 5pm.


FAIR ISLE experiments with exhibition practice by showing changing combinations of the work of 30 artists who work with installation and other forms of spatial practice.

These artists are Lisa Andrew, Linden Braye, Bettina Bruder, Sue Callanan, Sach Catts, Clara Chow, Criena Court, Fiona Davies, Beata Geyer, Brigitta Gallaher, Barbara Halnan, Justin Henderson, Virginia Hilyard, Anna Jaaniste, Fiona Kemp, Gillian Lavery, Diane McCarthy, Rose Anne McGreevy, James Nguyen, Margaret Roberts, Alan Rose, Andrew Simmons, Sardar Sinjawi, Alexandra Spence/Katrina Stamatopoulos, Helen L Sturgess, Ioulia Terizis, Vicky Versa, John von Sturmer, Skye Wagner and India Zegan.

Over its 5 weeks Fair Isle will show the following combinations of the works of these 30 artists: 

12-13 April
Opening event on Friday 11 April 6-8pm and open 11am - 5pm Sat - Sun 12-13 April: Bettina Bruder, Fiona Davies, Fiona Kemp, Rose Anne McGreevy, Alan Rose and Helen L Sturgess. 

19-20 April
Open 11am - 5pm Sat - Sun 19 - 20 April with work by: Linden Braye, Sue Callanan, Sach Catts, Bettina Bruder, Fiona Davies, Brigitta Gallaher, Barbara Halnan, Fiona Kemp, Rose Anne McGreevy, Alan Rose, Helen L Sturgess and Skye Wagner. 
26-27 April
Justin Henderson Redfern Gold 2014

Opening event Wednesday 23 April 6-8pm, and open 11am - 5pm Sat - Sun 26 - 27 April: Linden Braye, Sue Callanan, Sach Catts, Clara Chow, Brigitta Gallaher, Barbara Halnan, Justin Henderson, Andrew Simmons, Sardar Sinjawi, Vicky Versa, John von Sturmer and Skye Wagner. 
Clara Chow Currency
3-4 May
Open 11am - 5pm Fri - Sun 2 - 4 May: Lisa Andrew, Clara Chow, Criena Court, Justin Henderson, Virginia Hilyard, James Nguyen, Margaret Roberts, Andrew Simmons, Sardar Sinjawi, Ioulia Terizis, Vicky Versa and John von Sturmer.
Anna Jaaniste
10-11 May
Opening event Friday 9 May 6-8pm, and open 11am - 5pm Sat - Sun 10-11 May:  Lisa Andrew, Criena Court, Beata Geyer, Virginia Hilyard, Anna Jaaniste, Gillian Lavery, James Nguyen, Diane McCarthy, Margaret Roberts, Alexandra Spence/Katrina Stamatopoulos, Ioulia Terizis and India Zegan.

There will be a discussion and closing event on the last day, Sunday 11 May 2-4pm.

Some aspect of each variation of Fair
Alexandra Spence & Katrina Stamatopoulos still from WindUp Bird 2013
 will be written about by one or more art writers (and artists who also write) including Linden Braye, Adrian Clement,  Desiré de Kikk, Chantal Grech, Leahlani Johnson, Isobel Johnston, Amy Prcevich, Kathryn Ryan, Nick Strike, John von Sturmer and India Zegan. Their texts will be published initially on the Articulate blog. Extracts from the discussion event held on the last day of Fair Isle will also be published on the blog.

The intention is that Fair Isle will enable artists and visitors alike to watch as, over 5 weeks, groups of 6 artists progressively alter the exhibition space for the next group by installing new work. It starts with the first group who install and construct new work in the empty project space, altering it for each other and for the next group who install their work in the same but now modified architectural space.  For the third week, the first six will remove their work so that a new group of six artists install their work in the space that is modified by the second group, and so on. The modification usually occurs not from literal movement of walls etc, but simply from the alteration of space that occurs when artworks are installed.

Fair Isle is thus not so much an accumulation of actions, as a slow progressive movement of entanglements and disentangments that might create patterns in the minds of viewers that are a little like those produced by fair isle knitting, and that in the end will disappear into memory when the last group leaves.

This Fair Isle experiment will stop after 5 weeks, but it is a project that, if it became a more standard form of exhibition practice, would mean artists might make decisions in response to the surprising things that other artists do as much as to developments in their own individual projects. It is a form of collaboration between artists that has a hint of the temporal rhythm of dance and music. It is also one that maintains the priority most artists give to their individual projects as well as valuing the role those projects play as inspiration and challenge to others. Within a broader picture, it thus aims to strengthen both individuality and communality in artpractice.

Artists were invited to participate in Fair Isle because they work with installation or with an interest in space in some other form, and, initially at least, because they had done projects at Articulate before. Within that, group composition is fairly random—artists who responded to invitations selected which group they wanted to join usually without knowing who the other artists were. They do have the opportunity however to meet beforehand to jointly determine how they want to interact with each other and the project space. Each combination of works us thus in effect curated jointly by the participating artists.


Slowing Down Time - final day



L-R: artists' talks: Sue Healey, Michele Elliot, Louise Curham, Jo Law
The last day of Slowing Down Time showed the accumulated works of four artists who have distinct practices but share similar aesthetics and are very familiar with each other's practices. It is an interesting example of collaboration in which both individuality and commonality are  maintained.  For example, the direct drawing (pencil on plaster wall) by Michele Elliot is linked to the animated line projections of Jo Law; the sound-super8 collaboration of Louise Curham, Alister Spence and Alexandra Spence merge with the dance projections of Sue Healey. This project also explores relationships between the space within images and the space in which images are located through the use of movement and stillness. The progressive nature of Slowing Down Time is also taken up again in the following project, Fair Isle, with the difference that the Fair Isle artists come together randomly by selecting a fortnight- time slot, and the interactions between works is also expected to be more random.  


SLOWING DOWN TIME performances artists' talks and discussion Sunday 6 April, 2-5pm

SLOWING DOWN TIME will finish this weekend with the accumulation of 4 artists' projects built up over 4 weeks, including a version of the performance by Louise Curham, Alister Spence and Alexandra Spence developed in week 1. 

The performance, artists talks and discussion will be held on Sunday 6 April,  2-5pm. Please come along to participate in the discussion of this most interesting experiment in artist collaboration that crosses disciplines as well as artists' practices, space and time.

Slowing Down Time will also be open 11am - 5pm Friday - Sunday to 6 April.



Jo Law is working in the space in the final week of Slowing Down Time. 
Please drop in at normal opening hours of 11am - 5pm during Friday - Sunday 4-6 April.  

Jo is responding to the sites where Louise, Michele, and Sue worked. Jo is bringing traces of these previous play and experiments back to the space. Amongst the materials she uses are rotoscoped animation, video footage, and physical objects. She aims to animate these multiple layers and create dialogues with these traces as well as with the space.

see images on http://artofslowingdowntime.tumblr.com



Chantal Grech: Observations of an itinerant viewer: day 4 and 6 of Sue Healey's interventions

Four white boards, rectangular and upright mark the space along the wall like a metronome marks time. At the end of the narrow vista three more boards hang in front of shallow stairs bouncing the space back onto itself. Now blank, they are the split ground on which grainy ephemeral images of figures have passed, projected. A diaphanous pink sleeve is slipped over one of the boards extending its form to the ceiling. In the darkness below the staircase an   scallop of white threads encloses a triangular space to end in a series of curved gestures against a brown brick wall. Fragile in composition though not in overall size they speak of the hand and of time. A pendulum-like pencil drawing sits on the white wall in the first bay. These are the givens, gestures left as beginnings. The space appears passive.

Day 4
Three large black monitors sit against a white brick wall in the first bay opposite the pendulum like drawing. A woman and two men walk the length of a precipitous wall, the same wall, at different times. They are seen in profile against a clear blue sky, simultaneously on the adjacent monitors. It is an experiment; the conditions are the same for each, the difference lies in their response to the task of walking the wall. The woman strides, almost defiantly as the edge of her skirt kicks up and gives way to the forward movement of her leg. Something external, of which we know nothing, motivates her. One of the men, in contrast, walks more slowly with a steady step, the camera shows us his face and a curious smile. He is bemused. Later we learn that he is afraid of heights. The third man is confident, assured, internally driven. The energy that flows comes from the apparent density of his body, the certainty of his place on the wall.

The time involved: the time between the individual walks, the time from the filming to the watching, the simultaneity of watching three past events, now, not to mention Bergson's dureé - the unmeasureable time of individual experience, and finally, imagined time. Multiple times. To the astronomer space and time are knitted together - one dependant on the other.

In the space under the stairs the two-dimensional plane is challenged when the projection of a man turning and slowly 'spinning', is partially caught by the scalloped threads before being released to the wall behind. The projection is small, the size of a hand. It's scale suggests distance but at the same time, like a miniature, it enters the imagination defying scale. Beneath the stairs the dancer is a microcosm, on the opposite wall he enters the scale of the real but his movements and the whiteness within which he revolves place him within a limitless space where his naked body turns within a gold latticed coat that in turn orbits his body as he revolves across the wall like a passing planet, giving the surrounding whiteness an added depth in which the wall attains another state, another kind of representation where the perceived flips into an imagined limitless space.

Day 6:
In the first bay, between the pendulum and a white board, a dancer turns, projected, caught between acts, between two moments – the remaining gestures of previous artists – in this moment present and past exist together. The same dancer turns the same turn in the second bay and under the stairs like a repeated beat, and each time the movement is the same but the site is different and in that difference lies a constellation of possibilities.

The gold latticed gown within which the dancer dances, itself composed more of empty spaces than of material becomes manifestly present at the end of the space as it hugs the shallow steps, drawing the eye back to solid ground, back to now.

The four small monitors find their place at the front of the gallery, face up in a gentle curve, the suggestion of a path, a continuity that points to the staircase, that begins below the empty pink sleeve hanging above them. The three large monitors now sit at the back of the gallery, behind the hanging panels, waiting.

The works engage the periphery and were it not for the solid substance of the black monitors, the projections and emanations together with the physically light objects might be absorbed by the walls leaving the intervening central space to take on a particular presence, a response of its own.

Perhaps the space awaits the presence of the body, of the dancer.

Chantal Grech  April 5/14



Sue Healey is working in the space every day this week.  
Please drop in Fri 12-3, Sat 2-5 and Sun 2-4.

Healey's attention is the body and its presence in the space. As a choreographer and filmmaker she relies on the collaborating energies of performers to engage with her tasks and provocations. In a residency without dancers such as this, she is faced with the disappearance of the body.  

Traces of movement find themselves situated amongst the residual Curham + Spence and Eliot materials and memories. In her own words, 'the space accumulates and sparks'.