5 Kent Street, Henley Beach SA


August-September 2017 exhibition

“I’m not Modersohn and I’m not Paula Becker anymore either. I am Me, and I hope to become Me more and more.”
Marie Darrieussecq, Being Here The Life of Paula Modersohn-Becker, Text Publishing, pp 97-98, 2017


25-26 August, 1-2, 8-9, 15-16, 22-23 September (ie open only Friday and Saturday)
opens 25 August 6pm, all other dates open 10 to 5pm
Makeda Duong, Stephanie Radok, Dawn Kanost and the CWA.


Dawn Kanost

Dawn Kanost
Practice like your hair's on fire, 2014
reclaimed materials: silk (scarves, clothing, sari), cotton
2680 x 1950 mm

Photography by Jeremy Dillon

The piece is a ‘kantha’ (an Indian traditional quilt that reworks worn saris.)

The work is made from reclaimed materials of silk (scarves, clothing, a sari) and cotton (stitching).  Uncounted layers of silk have been hand-stitched together – by studying the edge areas, overlays of at least 6 separate textiles can be identified in parts.

Words are formed by the stitching – these words are the ten Buddhist 'paramis':   generosity VIRTUE wisdom renunciation ENERGY patience truthfulness rESoLVE loving kindness EQUANIMITY


Makeda Duong

Makeda Duong
Affection, 2014
Cotton cross stitch on cotton, hand knitted lace
21 x 21 cm

Makeda Duong graduated from the South Australian School of Art in 2013 with a Bachelor of Visual Arts Specialising in textiles. Her work explores how home crafts such as knitting and embroidery intersect with the cultural construction of gender roles. Following on from her degree, in 2014 she was able to participate in a Helpmann Academy emerging artist’s mentorship with Adelaide artist Sera Waters. Since 2013 she has participated in several group exhibitions, some of these with the Chopped Collective, a group that formed as a response to the South Australian School of Art’s decision to cut the textiles specialisation from its visual arts course. In her first solo exhibition The Cursed Boyfriend Sweater in 2015, she explored the parallels between craft labour and emotional labour as feminine burdens in contemporary domestic relationships. Her current focus is on myths about the female reproductive system and pelvic pain conditions in women, such as vulvodynia.


Permanent exhibition


June exhibition
Photo: Michal Kluvanek

Artworks left to right:

Arlene Textaqueen
Did you get bitten (Raquel), Portrait of Raquel Ormella
, 2002

Texta on paper, masonite, Perspex
112 x 77 cm

Textanudes as she calls it, subverts the classical traditions and serves almost as a pastiche or parody of the salon nude, deconstructing and challenging the traditional model of how the female is translated into art. Entitled Did you get bitten?, TextaQueen portrays another artist Raquel Ormella, in a creative process that she labels a 'collaborative exchange’ contrasting to the traditional ways of producing a salon nude:
‘The essential complement of the lusty artist was the female model, who was never seen as a contributor in the production of an image, but only as a passive material to be posed and manipulated, subject to the transforming power of the artist’ 
How do women look? : the female nude in the work of Suzanne Valadon. / Betterton, Rosemary In: Feminist Review, Vol. 19, 03.1985

Helen Fuller
, 2006
Oil on canvas
103 x 152 cm

Katjarra Butler
Marapinti, 2010
Acrylic on canvas
121 x 120 cm


June exhibition

Kent Morris
Boonwurrung (St Kilda) - Rainbow Lorikeet
Cultural Reflections – Up Above Series 2 #4
Archival print on rag paper
100 x 150 cm
Edition of 5


“The last ten years have seen the rise of a new phenomenon in the exhibition and sale of contemporary art in Australia – the home gallery. Positioned between the costly and sometimes rigid model of the commercial gallery and the let-it-all hang-out freedom of artist-run-spaces, home galleries offer an alternative viewing environment/model in which artists, curators or gallerists can display new bodies ofs work, or more typically combine the work of several artists, usually unrepresented. Displaying art in a domestic environment is nothing new. Most art is made to be lived with, at home. And artists have often exhibited their art in a home context, a kind of off-Broadway tryout for new work, playing to a sympathetic audience of friends, family and fellow artists. Enlightened patrons have also sometimes filled this role by providing exhibition space at home. Nowadays, the home gallerist is more likely to be an enthusiast, curator or would be-gallerist without the financial wherewithal, or interest, to stump up for the premises, staff and stable of a regular commercial gallery – but with passion and enthusiasm to find and exhibit new artists and works that may have been overlooked.”

“A different imperative motivates Adelaide freelance curator Vivonne Thwaites, whose gallery artroom5 occupies rooms in her house in Henley Beach. Trained as a painter and printmaker, Vivonne later worked at the Art Gallery of Western Australia and for the Australia Council. From 1990-2000 she curated Artspace, the visual arts venue at the Adelaide Festival Centre and was later curator of the South Australian School of Art (SASA) Gallery. Over the last decade she has independently curated a series of exhibitions for South Australian university and art school galleries in which material from museum collections and archives is re-interpreted by contemporary artists, most notably Holy Holy Holy for Flinders University and Writing a painting for Uni SA. Vivonne first showed artists at home as part of the Adelaide Festival Fringe in 2004. As The Occasional Gallery, it was launched with a show called Real. Not real, curated by artist Dawn Kanost and featuring Marc de Jong, James Lynch, Sarah Crowest, Fergus Binns and Akira Akira. Later that year came another exhibition, with James Cochran (the artist who went on to fame after painting the David Bowie mural in London), Alan Tucker and Helen Fuller. It began again in earnest in 2008, with six to eight shows a year in two or three clusters. Vivonne started artroom5 out of ‘frustration at the many good artists with nowhere to show’. It also gave her the opportunity to practice her craft: ‘I had curated Artspace for many years, had been an independent curator, and had run the SASA Gallery. So I think I needed to keep doing shows, as a kind of personal expression, and to keep in touch with artists’, of whom she knows many: I follow their work … I can see potential early. I am quite aware that sometimes I am showing people a bit early, i.e., they still have a way to go, but I feel I can participate a bit in directing an artist’s practice, encourage a certain vein in their work, show them with complementary artists.”

John Cruthers in Art Monthly, issue 246.