Artist Index


The Waiting Room opens Friday 3 February 6-8pm

Open: 4 February to 19 February

Hours: Friday to Sunday 11am - 5pm

The Waiting Room shows the work of Deborah Burdett, Renuka Fernando, Ro Murray and Mandy Burgess, Susannah Williams and Warren Armstrong.

In this group show, the artists respond to the emotional states we find ourselves in when we wait. In a lift, at the doctors, at hospital, at Centrelink, at the Motor Registry, at bus stations and airport lounges - places where we are temporarily suspended in a state of attentive dependence; unable to make independent decisions; unable to get on with our lives. Interactions with others in the waiting room are strange and artificial. Attempts at occupation are distracted.

But spare a thought for the massive waiting rooms in other people’s lives: refugee camps, nursing homes, cancer clinics. Or in other people’s heads: court cases, mental illness. Or for a culture awaiting recognition of value. Life is literally on hold.

Mandy Burgess and Ro Murray Bridging 2016


Remnant photos by Hannaleena Mikkonen

Photos: Hannaleena Mikkonen

Remnant Artists' Talks: 3-5pm Saturday 28 January

Artists' talks and opening 3-5pm Saturday 28 January
Opening hours: 11-5pm Sat - Sun, 28-29 January 2017

During the course of the week I have been working with the notion of sticks, planks, panels; enclosure, and permeability in different combinations and constellations. Sometimes they are installations involving relocation of materials and reconfiguring  them in different parts of the space, in relation to the architecture. 
The sounds  of timber became predominant-scraping against itself and surrounding surfaces- clinking and making a loud clatter on the floor as it tumbled and fell . 
At times works needed to be performed. Some of these I documented with video and stills.
At times words or titles for the 'works' became important, marking, as they did, the progressions through time and the shift, however subtle, in conceptual development. In some instances the words  appear in writing in the works. 

Sue Callanan Remnants: fencing repairs and maintenance, January 2017 2017

The overriding title,  'Remnants: fencing repairs and maintenance, January 2017' derives from work done in constructing a new fence around my house. Documentation of the original site to the project space and back again,  become the link between the two environments, forming part of the whole.


Sue Callanan, 'Remnants: fencing repairs and maintenance, January, 2017': Sat-Sun 28-29 Jan

Artists' talks and opening 3-5pm Saturday 28 January
Opening hours: 11-5pm Sat - Sun, 28-29 January 2017
Remnants: fencing repairs and maintenance, January, 2017.

My recent work, Remnants: repairs and maintenance, November 2017, defined and occupied a confined architectural feature of Articulate project space, giving a new and different treatment to the leftover materials.

In the coming project, the materials are predominantly off cuts of hardwood timber from a newly constructed fence, which I will utilise, taking into account the whole of the downstairs space.

The outcome is not determined. In the space of the week, I will explore the relationship of the materials to the architectural form of the space, shifting between attention to materials and attention to the bigger form, one losing itself and redefining itself in relation to the other, with the notion of  'fence' as the returning reference.

Remnants: fencing repairs and maintenance, January, 2017 in progress 2
Remnants: fencing repairs and maintenance, January, 2017 in progress 2
Remnants: fencing repairs and maintenance, January, 2017 in progress 1

Sue Callanan​, Remnants: repairs and maintenance undertaken November 2016, 2016, AT6,



Artists' talks and finnisage drinks:  3-5pm Saturday 21 January.

Sarah J Newall will speak about Fashist (Summer Wardrobe), her work in ArticulateUpstairs and

Perrine Lacroix will speak about 'Displacement', her residency project in the downstairs project space.

Perrine will speak about the progress of her residency from the first week in which she used light plastic, video and sound to suggest the organic nature of  air and bodily movement through contrast with the regular form of the gallery space. She will also show and talk about the integration of video footage she has collected in her brief time since arriving in Sydney on 1 January. These include footage of trees being felled and woodchipped in Sydney Park to make way for Westconnex, the installing of the Sydney festival, and more. See her earlier work on

Perrine Lacroix Displacement 2017 (detail)
This project is supported by funding from Leichhardt Council


Perrine Lacroix's residency Displacement opens Friday 6 Jan 6-8pm

Opening Friday 6 January 2017
Open 7 Jan - 22 January
Open 11am-5pm Fri - Sun, & till 8pm Fri 13 Jan 
Artist talk & finissage: Saturday 21 January, 3-5pm 
project space project #13


As part of her residency in Articulate, Perrine Lacroix's project is to produce an in-situ work by letting herself be saturated by space and the city in resonance with the political, spacial and cultural context at the local as well as global level.
For her coming project, she is interested in human "displacements", political, tourist and artistic migrations. How are they conditioned and how do they interact?

Perrine Lacroix @ Un château en Espagne, Grèce 2008
Perrine Lacroix Via aerea  2015

Displacement is the thirteenth project space project, a strand of Articulate's programming that began in 2011 to see 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. . . 

This project is supported by funding from Leichhardt Council