Artist Index


Fresh Paint - Grilled Chicken opened tonight

Fiona Davies
Lea Kannar-Lichtenberger
Niall Robb

Audrey Newton

Cybele Cox; Bernadette Smith
Bernadette Smith (Photo: FB)
Nick De Lorenzo

Trevor Fry
Lea Kannar
Engrybirdz - collaborative duo - Dorit Goldman and Melissa Maree
  (Ph Bernadette Smith)
Engrybirdz - collaborative duo - 
Dorit Goldman and Melissa Maree (detail)

Photos: Margaret Roberts (except where stated)

Saturday 6 February:
Lea Kannar 12pm-12:30pm  Discussion time: 12:30pm-1pm
Fiona Davies: 2pm - 2:30pm  Discussion time: 2.30-3pm


SCASS Project: Fresh Paint - Grilled Chicken opens Friday 29 January 6-8pm

Curated by Melissa Maree

Open Friday - Sunday 11am - 5pm, 30 January - 14 February

Artist Talk/Live:
Saturday 6 February:
Lea Kannar 12pm-12:30pm  Discussion time: 12:30pm-1pm
Bernadette Smith: 1pm-1:30pm  Discussion time: 1:30pm-2pm
Fiona Davies: 2pm - 2:30pm  Discussion time: 2.30-3pm


Local News 

SCASS Project: Fresh Paint - Grilled Chicken is curated by Melissa Maree and shows work of ten artists who are recent postgraduates from Sydney College of the Arts (SCA)—Audrey Newton, Cybele Cox, Fiona Davies, Nick De Lorenzo, Trevor Fry, Dorit Goldman, Majose Guzman, Lea Kannar-Lichtenberger, Niall Robb and Bernadette Smith. Fresh Paint - Grilled Chicken replaces the annual postgraduate exhibition that has recently been cut from the SCA program, and is supported instead by Sydney College of the Arts Student Society (SCASS) and University of Sydney Union (USU). It includes the work of postgraduates from 2014 and 2015.

The works are the product of a common purpose of postgraduate study, not because their work shares common concerns or has been curated to fit a coherent theme. Instead it shows the diversity of ten independent art practices, described by the artists as ranging from the impact of  the Anthropocene on our biosphere, concern for the recognition and preservation of ancestral cultures, death within the mediated context of the Intensive Care Unit, contemporary social inequality, the traditional role of names, the imagining of ritual cult religions, the mixing of religious art with pop culture, and experiments with destablising traditional form or investigations of “surface encounters”.

Despite this diversity, as each work will be installed with regard to its spatial relationship with each other and with the architectural forms of the building, a coherence will be sought during installation that may draw more randomly on other elements in the work.

Majose Guzman Invisible Roots 2014

Majose Guzman

Invisible Roots was created as a tribute to the amazing changes that are happening thanks to leaders that are completely engaged with the protection and development of their communities. Invisible Roots hopes to awaken the desire in people, with no regard of their ethnicity, to reconnect with where we come from and who we are, to start realising that our roots make us unique in a world where everything is starting to look the same; and through this desire, inspire the recognition and preservation of our ancestral cultures.

Lea Kannar-Lichtenberger, Feasting and Meditating on the Anthropocene 2 2015

Lea Kannar-Lichtenberger
 Avoidance - Unseen in the Anthropocene
2 video 12 min loop, plastic sheeting, plastic debris

 Avoidance - Unseen in the Anthropocene
2 video 12 min loop, plastic sheeting, plastic debris
This work explores the impact of the Anthropocene on two islands, and generally the impact of humans and tourism on the local marine populations.  Due to the upwelling Humboldt Current, Galapagos Island  has little or no ocean debris.  In contrast, Lord Howe Island, isolated 600 km off the Australian coast is constantly bombarded with ocean debris.  

This work is a social, ethical and environmental comment on the human connection to our oceans. It is an enquiry into the ways in which individual people and science are working to save non-human life and deal with climate change, and increasing ocean pollution. It juxtaposes the creation of more disposable technology and plastics with our concern for the preservation of the marine environment.

Fiona Davies, Blood on Silk: Magenta
Fiona Davies

I am a visual artist working primarily with installation, video and sound and interested in death within the mediated context of the Intensive Care Unit.

Audrey Newton I tried i reall did 2015
Audrey Newton

I am a practice led artist who works with investigational techniques in painting, sculpture and installation. I use a variation of mediums as experiments in deforming and destabilizing traditional form.

Cybele Cox Mystic Kittens 2015
Cybele Cox

My large totemic ceramic sculptures construct objects of an archaic imagined ritual cult reiligion that either happened in the past or could be of the future.

Bernadette Smith Our rights are NOT discretionary 1 2015
Bernadette Smith

My art installation investigates the issue of ableism or discrimination against less able bodied swimmers in public pools. In a throwback to the Nazi era elite swimmers are often unfairly privileged while those with injuries, disabilities or older swimmers struggle for equal access. This artwork highlights such social inequality and presents a protest banner, photographic documentation and actual email correspondence between a less able bodied swimmer and pool management. The installation also includes portraits of people randomly selected from the street who were asked to pose in front of this banner to be part of the exhibition if they agreed with its message.

Nick De Lorenzo digital clouds 1
Nick De Lorenzo

Through alchemical experimentations and abstractions my work explores the materiality of the photograph as an object, and the spaces between painting and photography.

Trevor Fry enlightened being 2014-15
Trevor Fry

I currently work mainly in ceramics, making figurative sculptures inspired by wide ranging sources, from religious art to pop culture monsters and aliens.

Niall Robb Untitled 2015
Niall Robb

Niall Robb is a multidisciplinary artist who engages with varied materialities and minimalist forms, positioning materials and more specifically their surfaces as sites of engagement and wonder, investigating “surface encounters” which trouble conceived notions of the “thickness of existence.”

dis_object g ven 2015
Each of us has a name – Zelda Schneersohn Mishkovsky.

Each of us has a name, given by God, and given by our parents
Each of us has a name, given by our stature and our smile, and given by what we wear
Each of us has a name, given by the mountains, and given by our walls
Each of us has a name, given by the stars, and given by our neighbours
Each of us has a name, given by our sins, and given by our longing
Each of us has a name, given by our enemies, and given by our love
Each of us has a name, given by our celebrations, and given by our work
Each of us has a name, given by the seasons, and given by our blindness
Each of us has a name, given by the sea, and given by, our death.

Mishkovsky, Zelda Schneersohn. "Each of Us Has a Name." Poetry International Rotterdam. Hebrew Union College, Cincinnati, 2004. Web. 7 Dec. 2015. <>.

Artists statements pdf



Katherine Scott: project space project #10

5 -18  January 2016

The project space project is a strand of Articulate's programming that began in 2011 to find out how artists respond to project spaces as an exhibition practice.  Articulate thinks of it as focusing on the thinking processes that go on in art making, and on the relationships that are formed between artworks and the places in which they are made. It draws on Daniel Buren's The Function of the Studio 1971  which he ended by praising Brancusi (before his studio got moved) for being . . . the only artist who, in order to preserve the relationship between the work and its place of production, dared to present his work in the very place where it first saw light, thereby short-circuiting the museum's desire to classify, to embellish, and to select. The work is seen, for better or worse, as it was conceived. . . 

Opening hours in project space projects are decided during the project, and the artist has the option to not open the door to the public at all. This is because, for many artists, impending public exhibition means that the experimental and open thinking that can go on in the studio-situation is over-ridden with the urgent need to demonstrate its resolution in finished artwork in an exhibition. For this reason, we think of project space work as an exhibition practice in which artists bring a project or strategy that both focuses thinking processes and protects them against premature resolution. Thus while project spaces can provide for the exhibition of resolved work that needs time for construction in the space, they also encourage the exhibition of questions or intentions, the sort of art practice that Robert Morris described as having shifted the weight of the art act … from judgments about termination to decisions about initiation. 
 (Robert Morris 'Some Splashes in the Ebb Tide' in Continuous Project Altered Daily .. p129)
Katherine plans to start her project with ping pong and street activity. Documentation / announcements of events, opening hours etc will be made here.

See Katherine's work in FERAL 2, 2015. (FERAL was also an experiment in exhibition practice.)

Nine artists have participated in project space project to date.  Images and notes from their work can be seen here, and 2012 reflections on that stage of the whole project here.

William Seeto's The Space in Between: last hours