Museum of Brisbane

Artists @ Home

MoB Artists @ Home Residency Program

At this unprecedented time of isolation, the MoB Artists @ Home residency program bridged physical distance through making, sharing and connecting. The program captured the experience of the present, at this significant point in our history, through the eyes, hands and words of Brisbane’s makers.

10 creatives from the Greater Brisbane Region were selected to complete a six-week creative residency from their home or studio. Supporting Brisbane’s creative community is important to MoB. We hope to continue developing relationships, collaborating and encouraging the sharing of knowledge and creative ideas with our community.

Museum of Brisbane’s Artist-in-Residence Program is generously supported by Tim Fairfax AC.


Image: Delvene Cockatoo-CollinsQuandamooka Clay and Pigment Map 2018, paper, tawalpi-cotton tree-hibiscus tillaceus and pigments gathered from around Quandamooka. Photo: Nikki Michail, courtesy the artist. 
Banner Image: Emma HollandCulture (detail) 2017, collage, courtesy the artist.

 

 

Anna Jacobson

Anna Jacobson is a writer and artist from Brisbane. Anna’s poetry explores themes of Jewish identity, family and culture. Anna has recently published her first full-length poetry collection, Amnesia Findings (UQP, 2019), which won the Thomas Shapcott Poetry Prize, and a poetry chapbook The Last Postman (Vagabond Press, 2018). Her writing has been published in literary journals and anthologies including Chicago Quarterly Review, Griffith Review, Australian Poetry Journal, Cordite, Meanjin, Rabbit, Verity La and more. In 2018, Anna won the Queensland Premier’s Young Publishers and Writers Award. She is a current PhD candidate at Queensland University of Technology where she is specialising in creative nonfiction and memoir.

Project summary

For the Artists @ Home residency, Anna wrote and created two video poems. The first, entitled ‘Why is this Passover Night Different?’ is a play on the song Ma Nishtana, which is sung as part of the Seder meal during Passover. Anna also wrote and created a second animated video poem entitled ‘Festive Meal’. Passover is an important holiday in the Jewish calendar and is a time when Anna’s extended family usually gathers. Due to the pandemic, this year was very different. Through poetry and art, Anna shared her home experience of the Seder meal alongside her mother, father and brother. Her poems are accompanied by animated illustrations and are presented as sound recordings in her short video works.

  See more of Anna’s creative progress

Image: Anna JacobsonSeparation Ceremony (detail) 2017, photograph, courtesy the artist.

Clare Poppi

Clare Poppi is a jeweller and small object maker, whose practice focuses on sustainable design and wearables. Using a combination of recyclable and biodegradable materials, Clare intends to examine and improve the sustainability of jewellery production. Her work critiques the fast fashion model and seeks to foster meaningful relationships between the wearer and their jewellery collections. Clare has recently completed a Master of Visual Art at Griffith University.

Project Summary

Over the course of the residency, Clare constructed five pieces of ‘growing jewellery’, which she shared with volunteers to nurture, care for and experience. Each piece integrates living plants and traditional jewellery techniques. On an intimate and micro scale, the objects allow the wearer to develop a connection and relationship with nature while in a confined and isolated home environment. The jewellery must be watered, given sunlight and nurtured to grow and thrive. A relationship develops between the wearer/grower and the jewellery, based on daily interactions and care. At the end of the plant’s lifecycle, the jewellery can be ‘re-potted’ or perhaps passed on to a new recipient. Clare has shared her processes of working with silver and plants on her social media and looks forward to receiving feedback from the recipients of her growing jewellery.

  See more of Clare’s creative progress

Image: Clare PoppiGrowing Brooch 2016, recycled 925 silver, soil and plant. Photo: Lisa Brown Faun Photography, courtesy the artist.

David Kelly

David Kelly has practiced as a professional feature and magazine photographer for nearly three decades. David currently works as a freelance photographer. Documentation of the performing arts and individual stories are the focus of his current practice. David has been recognised by a series of Clarion awards as well as Walkley nominations in 2006 and 2012. Alongside editorial, documentary and feature photography, David has worked with the Queensland Ballet, documenting rehearsals and behind-the-scenes moments for the last 21 years. In collaboration with others, David has also produced a documentary film, Love Stories (2015), and three books, Detours: Stories from the Street (2011), From the Wings (2011), and The Saltwater Story (2018). In 2018 David had his first major exhibition of 44 works at the Powerhouse, entitled Reserata, coinciding with Queensland Ballet’s Bespoke season.

Project Summary

For many years, David has been the keeper of his late father’s and mother’s belongings, photos, and documents – physical remnants of treasured memories. While forced to spend more time at home due to COVID-19, David has located, pieced together and creatively photographed some of these special objects. The result of this ‘treasure hunt’, alongside the documentation of his process on social media, is a collection of images and a self-published book – a small tribute to two people who lived through the Great Depression, survived the Second World War, raised four children in the Brisbane suburbs and lived quite unremarkable lives throughout a remarkable period of the world.

 See more of David’s creative progress

Images: David KellyLaura (Wings) – Reserata 2018, photograph, courtesy the artist. | David KellySujit and Elizabeth 2005, photograph, courtesy the artist.

Delvene Cockatoo-Collins 

Delvene Cockatoo-Collins is a Quandamooka woman who lives and works on Minjerribah (North Stradbroke Island). Using ceramics, small sculptural works and hand printed homewares, Delvene expresses the stories of her family’s lived experiences on Minjerribah and responds to historical images and texts related to her family. Central themes in Delvene’s work include her relationship to her great-great grandmother, traditional mat making techniques and the use of clays and pigments found across Quandamooka Country including the islands and mainland around Moreton Bay. Delvene is the designer of the Gold Coast Commonwealth Games 2018 Prizewinners Medals, Commemorative Medal and the large inflatable ‘Migalu’ (white humpback), which featured in the Opening Ceremony.

Project Summary

Each week of the Artists @ Home residency Delvene shared her early-morning walk on a Quandamooka beach on Minjerribah, in a project titled Found Today, Made Today. On these walks Delvene collected objects to use in an artwork, such as paperbark, tawalpin (cotton tree), casuarina branchlets and roots, discussing their use and significance on social media. Each week focused on a plant or tree found on Minjerribah with significance to Delvene’s family and others on Quandamooka Country. Delvene created prints from the leaves of these trees, as well as making twine and dyed linen from several different roots. The prints were overlayed with a written reflection from each walk on tracing paper to create an artist book.

 See more of Delvene’s creative progress

Image: Delvene Cockatoo-CollinsMinjerribah Pigments 2019, ceramic mangrove roots with natural pigments and driftwood. Photo: Julie Sisco, courtesy the artist.

Emma Holland

Emma Holland is an emerging comedian, photographer and collage artist. Her university experience focused on the visual arts, however, after graduation, she quickly become a regular on the Australian comedy scene. Emma achieved Runner-Up in the 2018 RAW Comedy National Final and has performed at Splendour in the Grass, Triple J and the Comedy Store. Emma was due to debut at the 2020 Melbourne International Comedy Festival with her solo performance ‘Fine Art’, which was cancelled due to the COVID-19 health crisis. Emma is using this time to experiment across disciplines, combining her comedy and art practices and demonstrating that creativity can be borne out of unideal circumstances. Emma holds a Bachelor of Visual Arts (Photo Media) from The Australian National University.

Project summary

Throughout her residency, Emma created a series of collages and videos which merged her interest in art and comedy. Through these combined disciplines, Emma recontextualised and reinterpreted our reality in unexpected ways. Her project consisted of two major elements: the creation of satirical collages with imagery from diverse sources, and humorous video documentation of her artistic process. Her project explored how the rhythm of stand-up comedy can be translated into the visual. Combined, the collective title of her collages is Nature is Healing, which is a play on recent social media commentary around the disappearance of humans, and the re-emergence of nature during COVID-19.

  See more of Emma’s creative progress

Images: Emma HollandThe Neighbourhood II 2015, collage, courtesy the artist | Emma HollandCulture 2017, collage, courtesy the artist.  

James & Eleanor Avery

Artists and partners James and Eleanor Avery have been collaborating on large scale sculpture, installation and public art projects for nearly 20 years, working between Brisbane and Europe. James and Eleanor create works which combine fiction and documentary, basing each piece on an exploration of a historical site or event, which they reinterpret and reformulate using pop culture references. Harnessing a broad range of materials and techniques, the pair utilise computer engineering software and industrial and handcraft methods, creating works imbued with a sense of postmodern irony. James and Eleanor hold a Master of Art & Design Education, University of Warwick (UK) and a Master of Fine Art, Birmingham City University (UK) respectively.

Project Summary

By exploring visual representations from varying survival strategies and belief systems throughout history, particularly the Middle Ages, James and Eleanor created a series of mixed media sculptures titled OUR DAY IN.  OUR DAY IN is a lockdown response to OUR DAY OUT (2005), the artists’ first collaborative project together, a series of semi-participatory installations which explored ideas of ‘armchair tourism’. For OUR DAY IN, James and Eleanor tried to make sense of the current significant historical moment in relation to pre-pandemic life, creating works using humour and absurdity to communicate serious concepts. Linking the current pandemic with others across history, they ask: Are we currently living in a medieval painting?

 See more of James & Eleanor’s creative progress

Images: James and Eleanor AveryBenny Bunny 2016, laminate, plywood, jelutong, courtesy the artist. | James and Eleanor AveryFabric #2 2018, paper, polymer composite, gesso, paint, courtesy the artist.

Man & Wah

Inspired by nature and the cosmos, Man & Wah are brothers who work together to produce large-scale visual works, moving images, digital content and installation experiences, collaborating with a diverse range of people and projects across Australia and the globe. They explore the relationships between society, humans and the natural environment. Man & Wah have displayed their work at the World Science Festival, BOTANICA, Splendour In The Grass festivals, BIGSOUND and the Commonwealth Games Arts and Culture Program.

Project Summary

During isolation Man & Wah created a series of immersive and visually meditative digital experiences as well as potted ‘plantscapes’, reflecting on the relationship between humans, nature and the cosmos – crucial enquiries, particularly during the current global situation. Over the course of the residency, the duo created a series of images and short films, as well as a longer narrative video. The images, films and final contemplative video piece drew on an extensive catalogue of content collected and recorded before the pandemic, capturing and layering organic and built landscapes from across the globe, as well as content generated in the present. The mini ‘plantscapes’, resembling bonsai gardens or terrariums, created by Man & Wah explore the concept of creating a living artwork.

  See more of Man & Wah’s creative progress

Images: Caitlin Franzmann & Man Cheung, Fortune of the Forest – Divination Cards 2017, photography & print card set, courtesy the artist. | Man & Wah, LIFE FORCE – AMAZONIA COSMOS (detail) 2020, photograph, LED sphere screen display & interactive media, courtesy the artist.

Marisa Georgiou

Marisa Georgiou is an inter-disciplinary artist working across mediums such as performance, publishing and installation, both inside and outside institutional contexts, and often collaboratively. Embracing the complexity of current crises, they aim to promote experiences that are intimate, gentle and self-aware, without sacrificing strategy and criticality. Marisa holds a Bachelor of Fine Art (Honours) from Queensland College of Art, Griffith University.

Project summary

Marisa’s project explored the concept of immaterial labour, an idea which considers how our current economic and work structures require output and tangible outcomes. Immaterial labour is particularly relevant to the creative industries, in which significant emotional, intellectual, theoretical and philosophical knowledge is generated, but not necessarily valued by the economic system. Marisa asked questions such as: How do we value the production of knowledge and experiences? What about the time spent generating ideas? How can this be measured? Marisa engaged in discussions with peers on this topic to gain diverse perspectives from the creative community. They also investigated this concept through their newly adopted practice of calligraphy – itself a laborious task. Marisa harnessed calligraphy in order to let practice take precedence, and to remove the pressure of achieving a ‘perfect’ outcome.

 See more of Marisa’s creative progress

Images: Marisa Georgiou, URBN ASMR 2017, video still, courtesy the artist. | Marisa Georgiou, ceremony for lost connections to nature (detail) 2017 , mosquito sounds, salt, sandalwood, citronella coils, bricks, pine, Australian afternoon tea, found ceramics, courtesy the artist.


Mia Boe

Mia Boe is an emerging Brisbane-based artist working primarily in painting, whose matrilineal family is Badtjala from K’gari (Fraser Island). Her father came to Australia as a young boy, from Burma, as a refugee. Mia’s family heritage and history often inform her artworks, which record and rediscover Indigenous histories that popular Australian narratives often seek to deny.  Her practice of recovery and re-telling is urgently needed, in order for us to better understand the complex identity of contemporary Australia. Mia is in her last semester of a Bachelor of Arts (Art History) degree at the University of Queensland.

Project summary

During her residency Mia created a series of powerful new paintings demonstrating that the idea of ‘crisis’, which Australia has experienced due to the pandemic, is not new to Indigenous Australians.  Indeed, for Indigenous Australians the idea of ‘the new normal’ is about 250 years old. Through her series of paintings, Mia explored how the current imposition of regulations has historical parallels in Australia’s history, referencing issues of colonial violence, public health, security and public relations. Mia’s paintings also evolved to respond to the unfolding Black Lives Matter movement, which has resonated across the world.

 See more of Mia’s creative progress

Image: Mia Boe, Blind Trooper 2 2020, acrylic paint on timber. Photo: Georgia Boe, courtesy the artist.

Michelle Vine

Michelle Vine is an installation, performance and photo-media artist. Her current practice is centred on physical touch. Michelle aims to bring awareness to  this often overlooked sense  while disrupting the dominance of others, such as sight. This interest in touch grew from Michelle’s lived experience of chronic illness; she has an immune system dysregulation that affects her five senses – her sense of touch being the least impacted. Michelle’s practice aims to create playful, positive, embodied art experiences that allow for greater inclusion for audiences of diverse ages and sensory abilities. She holds a Bachelor of Fine Art (First Class Honours) and a Bachelor of Fine Art (Sculpture/ Art Theory Major) from Queensland College of Art, Griffith University.

Project summary

Michelle Vine crafted a series of experimental objects known as ‘iso-pets’, turning ordinary household items into lively soft sculptures with their own distinct personalities. The iso-pets were made with foam, fur, fabric and items found around the house. They acted as surrogates for the company and tactile care of others, at a time of touch taboo. Michelle invited and guided her online audience to make their own comfort objects and to enter into a dialogue about the important role of touch in our lives, especially at this time of physical distancing. Michelle’s project promoted creativity in the home, and connection to others.

  See more of Michelle’s creative progress

Images: Michelle Vine, Affirmation Tub (detail) 2018 – 2019, cast iron bath tub, faux fur, foam, with audio track on headphones, whispered affirmations by the artist, soundscape composed by Luke Jaaniste, courtesy the artist | Michelle Vine, Surrogates for Social Touch (Love me tender) (detail) 2018 – ongoing, meat tenderiser, faux fur. Photo: Luke Jaaniste, courtesy the artist.