Stall: KIN SWIMWEAR
Website: https://kinswim.com.au/
Instagram: @kinswim

Tell us a bit about yourself and what you’ll be selling?

Hi, I’m Mon from just up the road. I’m the designer for sustainable swimwear label KIN SWIM. The new collection is also made here in Western Australia, I’m looking forward to sharing them all with you. KIN is dedicated to the beach bums and those who want to spend endless summers in their bathers. The brand was inspired after many long days in the sun, and a series of bad surfing also knows as “surviving” incidents. I wanted to design rashies that people wanted to wear. I’m not a designer by trade, just a health science nerd with a huge passion for fashion and the environment. There’s been a tonne to learn on this journey but here we are.

Mon Bossie, designer of label Kin Swim, in her studio

How do you make the works?

Finding a maker is really tough, so I can’t give away all of my secrets. Basically, my drawings and ideas are turned into dream suits through a series of chopping and changing until they are just right.

I am hoping to bring in custom sizing soon for those that have trouble finding the right fit. If that’s you come and have a chat.

KIN uses only the highest quality regenerated fabric, which can be limiting in regards to colours and textures, but it’s really coming along leaps and bounds since I began which is really exciting. It’s nice to see there’s a movement towards more eco-conscious options. The block colours selected have been inspired by mother nature, the earth, the air, the sea. The prints are designed here and by friends abroad, this season’s prints have a real retro vibe.

Kin Swim designs. Image supplied

Why is it important to support local makers?

How cool is getting to tell a story about your garment, artwork, or knick-knacks? I find it helps bond that connection with your community and supporting local gives you warm fuzzies… But I didn’t need to tell you that!

What’s your top gift tip this Christmas?

Gift something that they will cherish for a long while and let your clothes represent your ethos.

Bazaar runs 5–9pm Fri 4 Dec | 9am–5pm Sat 5 & Sun 6 Dec

Look at Fremantle through the lens of designers who live and create in the port city, in Fremantle Art Centre’s upcoming exhibition DesignFreo: Object, Space, Place.

Opening 6:30pm Friday 27 November, the work of some of WA’s finest designers brings into focus the significance of design in our everyday lives and its connection to place and community.

Experience objects, built forms and typography created by established and emerging Fremantle designers. Participants include architects and furniture makers as well as fashion, industrial, interior and graphic designers.

Object, Space, Place considers the design decisions we all make every day, the legacy our choices leave for future generations and the pleasure we can take in quality design. The installation in the Main Gallery draws inspiration from Fremantle’s common practice of domestic renovation and is occupied by six locally based designers. In other gallery spaces, works reference Fremantle’s vernacular architecture, signage and typography.

DesignFreo: Object, Space, Place curator Pippa Hurst is passionate about showcasing the works of local designers. “Fremantle is known as a creative hub and I want to shine a light on the talented designers that call the port city home,” she said. “This is a show about what they do, why they do it and how it can make your life better.”

Highlights of the exhibition include a DesignFreo signature room scent created by The Second Salon, which will subtly infuse the Main Gallery; spaceagency’s architectural transformation of the gallery as a home; and Becky Chilcott and Isabel Kruger’s playful exploration of typefaces as personalities.

Exhibiting Designers

spaceagency architects
Penhale and Winter
Becky Chilcott and Isabel Kruger
squarepeg home
Tiller Rides
Monster Alphabets Dilemma
Winterwares
Ohlo Studio and Remington Matters
The Second Salon

DesignFreo: Object, Space, Place is curated by Pippa Hurst, Fremantle-based communications designer and the founder of DesignFreo.

A full public program of talks and workshops will be announced on the FAC website in the coming weeks.

Media enquiries: Liz Walker
lizw@fremantle.wa.gov.au | 08 9432 9565

Love Design and want to know more?

Visit Design Freo’s website and follow them on Instagram.

Fremantle Arts Centre’s Bazaar, Perth’s highest quality Christmas maker’s market, returns to the port city Friday 4 – Sunday 6 December.

In a year where buying local and supporting Western Australian industry has never been more important, Bazaar offers 50 local designers, artists and craftspeople the chance to showcase their wares and connect with the public at the three-day event.

Bazaar is more than a market, it’s a celebration of handmade, bespoke local craftsmanship. What sets Bazaar apart is the carefully curated selection of stallholders, ensuring all the products available are of the highest quality and WA designed.

Browse a range of the finest fashion, jewellery, textiles, ceramics, woodwork, toys, homewares, prints, stationery and more.

Held in Fremantle Arts Centre’s spacious grounds, under festoon lighting for the Friday evening session (5–9pm) and shady plane trees on Saturday and Sunday (9am–5pm), Bazaar is a relaxed and beautiful Christmas shopping experience.

Enjoy drinks from the bar and delicious food from a selection of food trucks as you shop.

Ceramicists Danica Wichtermann and Beste Ogan, who have shared a stall for many years, love Bazaar’s friendly vibe.

“Bazaar has a great buzz about it, especially on Friday night,” they said. “It not only has a beautiful space and atmosphere, there’s also an amazing selection of local handmade creations.”

Jewellery designers Kate Rae and Kerry O’Flaherty, who collaborate with their label k a : k e, said choosing where to spend your money has never been more important than in 2020.

“Give something with a local story, unique and designed and made to endure the test of time,” they said.

“Supporting local makers strengthens our community. It is a great feeling getting to speak to the maker directly and learn about the process and story. You know that these are special pieces, which are carefully created with a lot of love and joy.”

Bazaar runs 5–9pm Friday 4 December and 9am–5pm Saturday 5 and Sunday 6 December.

Entry $2, kids under 12 free.

Stallholders

Alison Bullock |  The ANJELMS Project | Bedtonic | Belén Beganza | Black and Dawson | Blue Lawn Designs | Braw Paper Co. | Ceramics by Danica & Beste | Cirkus Charm | Claire Townsend Designs | CLAY CLOTH METAL | Convict | Crawlin Crocodile | Daniel(ink) | Deep Earth Ceramics | Dreaming Dog Studio | FOUND | Golden Whisk | Hammered Leatherworks / One Happy Leaf / Henryetta | iJewellery | Jewellers and Metalsmith Group of Australia WA Inc | Jewellery By Susannah & Ilka | Jodies Junk Art | Juluwarlu Artist Group | ka:ke | KIN SWIM | Kooky Glass & Resinate Artworks | Kor by Lisa Gardner | Kristin Magrit | Latasha’s Kitchen | Map Journal | Marion Cox | mbcollective | Megan Salmon | Miss Willow Designs | Mrs Potter Pots | Nagtzaam Timber | Penelope Brittain Jewellery | Philippa Gordon Ceramist | Pia Benett | Prints by Bow | Rick Knopke |  Rocucu | Semblance | Susie Marwick and Julie Excell | Tinctorium | Two Stories | UFFA Collective | Yuniko Studio

Media Enquiries

Please contact Andrea Woods
andreaw@fremantle.wa.gov.au | 08 9432 9564

Current Artist in Residence Lucille Martin combines iPhoneography, photo-media, textile & performative practice exploring themes related to the social psyche, natural landscape and deep ecology. Using her iPhone as an extension of the body she captures images while walking and exploring the natural and urban landscape in Australia and overseas.

Ahead of this weekend’s Artists in Residence Open Studio we caught up with Lucille to find out what’s been working on in the studio.

Hi Lucille, can you tell us a bit about your career to date?

I’m a multi-disciplinary artist working primarily in iPhoneography and photo-media collage with a range of materials from textiles to found objects. Materiality is foundational to my practice stemming from an early interest in surrealism in my late teens and a desire to explore new territories, to disrupt and question the relevance of historic and implied traditions and troupes, particularly in photography.

Often in parallel is how material, method and theme are consciously and unconsciously working together. Curator Paola Anselmi and the late John Stringer were two WA curators that identified my work early on in Perth. Of my work, Paola said, “Martin’s fundamental interest in the evolution of a social psyche through the analysis of her personal experience remains a recurrent theme in her work…”.

A significant amount of works during my career were essentially driven by the ingenuity and good partnerships of curators in Perth and regional NSW, with a majority under the curatorship of Artistic Director Stephen Alderton (Director of National Art School, Sydney).

These relationships informed and built on my process beyond formalities of the genre to new platforms. If you look at my website it’s clear to see where good direction influenced my process. It was a completely different experience to be making works for thematically and academically aligned exhibitions to working on major solo exhibitions, which were especially favorable while bringing up a child.

Thematically I am driven by activism to protect the environment, flora and fauna, social justice, the social psyche and where contemporary culture intersects that.

Lucille Martin, New World, Other Worlds, 2020, iPhoneography, photo-media, archival Metallic print, Facemount, 3.4m x 1.3m. Image courtesy the artist

You are part of Imaginary Territories, a group exhibition, running at PS Art Space until Sat 14 Nov.  Are you able to tell us more about your work in the show?

Imaginary Territories is a successful curatorial program and career highlight under the directorship of Dr. Kelsey Ashe. As director, curator and artist of Imaginary Territories, Ashe was pivotal in driving the conceptual process of my large format body of work. It was like two energies meeting with a common and passionate topic related to surrealism. I had already been pitching the surrealist exhibition in Perth and Melbourne and the rest is her/history.

I feel like Kelsey and I had soul years together from another era, possibly in the 1930s and 40s in Paris filtering amongst the extraordinary (female) surrealists of the time. Kelsey has this sensibility to hone in on the passion of my practice, giving me breath and freedom but also allowing the performative process to evolve.

My large format work in Imaginary Territories is underpinned by my love for nature and the 18 months of travelling and photographing the natural landscape as an awarded artist in residence (AIR) throughout Australia and NZ. The images captured relate to my passion for the environment and deep ecology.

The work navigates a deeper understanding of identity, memory and place, meandering through past, present and future timelines as documenter and witness to the temporal, nostalgia and impermanence of these often delicate environments.

My imagery captures landscape and wilderness in southern New South Wales, which I captured during a Bundanon Trust AIR in 2018-2019; and two months at UTAS-School of Creative Art in Hobart where I walked southern and inland regions of Tasmania,  Maria Island and Bruny Island before going up to Launceston and over to Cradle Mountain and Lake St Claire National Park as AIR at Wilderness Gallery.

Other images were captured while I studied and researched the underground lands of WA and New Zealand at Rotorua. The research component is vital, I have a thirst to explore and navigate new adventures in Australia and internationally.

My major work presents imagined territories of configured and re-configured lands with the idea of putting the lost together digitally to present time as a point of reflection and the pressing need to act for our future.

The project was funded by the Western Australian Government Department of Local Government, Sport and Cultural Industries.

Lucille Martin, Landscape sans mémoire – Covid work 1, 2020, iPhoneography, photomedia on industrial textile, metal, embroidery. Image courtesy the artist

Do you have any other residencies/exhibitions in the pipeline?

Yes, I have a few projects happening in November  2020 – April 2021.

• Hanging by a Thread Exhibition

• Mandorla Art Prize (2021 Finalist)

I’m also thrilled to have my residency at Vancouver Arts Centre, City of Albany re-instated post-COVID and will be taking part in the project in late 2020 and early 2021.

The residency project is founded on a response to discovering the detailed black and white photographic images of my father, Joseph Martin (deceased), captured in and around the spectacular Great Southern and Albany regions of WA between the 1940s and 1950s. The small collection of images depict the beauty and detail of the natural landscape, striking ocean views, vegetation, and many of the magnificent rock formations of the country he loved so much.

To find out more about Lucille, check our her website, Instagram and Facebook.

Meet Lucille at our Artist in Residence Open Studio

Running 1–5pm this Sunday 8 November, this is a wonderful opportunity to meet a variety of artists currently in residence and find out what they’ve been working on. Free entry.

Following confirmation that Phase 4 restrictions will remain in place for the foreseeable future, it is with great sadness that we announce this year’s Wardarnji has been postponed.

A celebration of Noongar stories, song and culture, Wardarnji attracts thousands of people to our South Lawn each year. Fremantle Arts Centre believes running the event at half capacity would drastically reduce the number of people able to celebrate this important Noongar festivity and therefore it will not take place in December as planned.

Regulations permitting, Wardarnji will return bigger and better in 2021 when we can all celebrate together safely.

Wardarnji Event Producer Karla Hart made this statement:

“With our Noongar people we have seasons where we enjoy things pertaining to that season. Sometime the season is early, sometimes it is late and sometimes it comes and goes quickly without much happening due to other things happening in the environment. As Wardarnji has become iconic in our community and is held annually at a particular time of year, this year the season of Wardarnji has been affected by COVID and because we wouldn’t want to hold an event where we would have to turn people away, we will wait until a season approaches where we can be free and enjoy it.

“Just like a quandong where we savour the taste and picking, let us look forward to savouring our memories of the sensations of Wardarnji when it comes back around for the next season. Woola!”

We look forward to Wardarnji’s return in 2021.

City of Fremantle is delighted to announce the appointment of internationally renowned arts leader Anna Reece as Fremantle Arts Centre Director.

Anna will bring her innovative, strategic and dynamic leadership style to FAC. With over 15 years’ experience across the Australian not-for-profit arts and cultural sectors, with a focus in major multi-arts festivals, Anna is highly respected for her commitment to commissioning new Australian work and leading capacity development across the sector.

Currently employed as Executive Producer at Perth Festival, Anna has played a key role in nurturing its artistic vision and creating the strategy for its implementation. Anna joined the Festival in 2014 to produce Perth’s most successful and memorable event The Giants in 2015 and upon departure she will have overseen the artistic and operational delivery of seven festivals, including managing production of unique events of scale such as Home, Boorna Waanginy and Highway to Hell. She has a notable track record for commissioning Western Australian works, and is a highly skilled producer most recently delivering Bunggul, the spectacular celebration of Yolgnu culture and Gurrumul Yunupingu for the Festival in 2020.

Anna is deeply committed to the development of a strong and vibrant arts ecology in and across Australia. One of her most significant achievements has been implementing Perth Festival’s unrivalled Connect program which works with communities, artists, teachers and organisations to contribute to a flourishing local cultural sector, for which she is a passionate advocate.

City of Fremantle Mayor Brad Pettitt said “FAC is a vital and thriving part of the fabric of Fremantle. Beloved by the community, it’s also a leading model for arts centres around the country and I look forward to seeing its continued growth under Anna’s respected leadership.”

Manager Arts and Culture Kathryn Taylor said Anna stood out after a highly competitive national search. “Fremantle Arts Centre’s future is extraordinarily bright with Anna joining the team. She brings amazing, ambitious vision to the role and I’m confident she will nurture and build on FAC’s reputation for excellent, inclusive programming.”

“Fremantle Arts Centre is a focal point of the vibrant, progressive and innovative city that is Fremantle. It is such an honour to be given the opportunity to be a caretaker of this major Western Australian arts organisation,” Anna said.

“I’m thrilled to be leading FAC and the team into the next chapter, to make space for and create opportunities for new work, new collaborations and new models for the future.”

Prior to Perth Festival Anna was General Manager and Co-CEO of the Darwin Festival (2011 – 2014). She is a Board Director for the Chamber of Arts and Culture WA and Circuit West and the Chair of PVI Collective. Anna holds a Bachelor of Dramatic Art in Production from the National Institute of Dramatic Art, is a member of the Atelier European Festivals Association alumni, a recipient of the Chief Executive Women Australia Scholarship for Emerging Leaders and is a graduate of the Australia Council for the Arts Leadership Program.

Anna will begin her role with FAC in March 2021.

Media enquiries: Andrea Woods
andreaw@fremantle.wa.gov.au | 08 9432 9564

Bodywork boldly reclaims the female body with works from three rising stars of Australia’s art world – Kaylene Whiskey (SA), Amber Boardman (NSW), and Tarryn Gill (WA).  Featuring contorted soft sculptures, a video collage of female celebrity icons, and fleshy paintings, Bodywork explores ideas connected to body modification, self-expression and female empowerment.

We recently caught up with Amber Boardman to find out more about her practice and the incredible paintings she created for the exhibition.

Hi Amber, are you able to tell us about your art practice?

Sure, I make large-scale paintings that examine crowd behaviour and the role of the internet in shaping social norms. I combine my background in painting and animation to create narrative works that draw from the visual language of cartoons. Many of my ideas about the flexibility of the human figure have been influenced by my time working as an animator for Cartoon Network’s [adult swim], Comedy Central and Google.

Can you tell us about the works featured in Bodywork?

The paintings in this show have been selected from multiple bodies of work created between 2014 – 2020. The smaller works mostly contain single figures with leaky or morphing bodies who try to stay on internet trends. Two of the larger works investigate crowd behaviour such as the lethal frenzy that erupts at Black Friday sales events.

The three works made specifically for this show involve the relationship between our bodies and our screens. I think a lot about how we hand over so many of our decisions to algorithms. In Dating App Algorithm, I wanted to show the range of people, emotions and motivations taking place in online dating apps. The swirly dotted lines in the painting are the invisible digital structures – the algorithm – connecting people as they navigate the online profiles of others. Perhaps they are seeking out lifelong partners or one-night stands and everything in between.

In The Internet of Vibes I imagine our unspoken communication and the ‘vibes’ we give off as a kind of ‘internet’. It’s as if the viewer is wearing special glasses that make these communications visible.

Amber Boardman, The Internet of Vibes, 2020, oil on canvas, 183 x 273cm. Image courtesy of the artist. Photography by Pixel Poetry.

For Porn Categories I wanted to push into the idea that if you create shapes with vaguely skin-like colours then it becomes about the body. Some of the imagery references actual pornography, some are imagined, and some is pure abstraction. When I’ve shown this work to people everyone sees something different. Many see body parts in pure abstraction. I think the imagery that comes forward almost becomes like a Rorschach test for the viewer

Amber Boardman, Porn Categories, 2019, oil on canvas, 122 x 153cm. Image courtesy of the artist

Several of your paintings explore women’s beauty rituals – what sparked your interest in that subject?

I have always been amused by advertisements that announce new breakthroughs in mascara and hair dye technologies. As a child I watched these television commercials and then observed women who dyed, curled or straightened their hair. I was confused about why it is that whatever sort of hair people have, they seem to want it to be different. I tried to imagine if there was a perfect hair colour or texture that someone could be satisfied with and not need to alter it.

I spend a lot of time researching internet trends and crowd behaviour on podcasts, memes and blog posts. I use this research to form the basis of ideas that I let play out on the canvas. I’m interested in highlighting behaviours that have become normalised but start to seem strange when you look at them more closely.

As an American-Australian artist do you think messages around female beauty are the same here and in the US?

The emphasis on beauty here in Australia seems blonder and less diverse to me. I also see the less wild variation in hair, makeup and fashion. But there are a lot of similarities too. I see plenty of gargantuan eyebrows and bee-sting lips. I think social media is creating a smaller range of standard beauty practices worldwide. My favourite moments in beauty trends are when they reach a tipping point and somehow, collectively, people no longer consider something like the pencil-thin plucked eyebrow to be beautiful, and now everyone has to get tattoos to make their brows look fuller. In 10 years I’m sure this will shift again. I like how this stuff is always in flux. If you wait long enough you’re bound to possess some bodily aspect that will be fashionable.

Your fleshy colour palette is very evocative. What draws you to the painting medium?

Ah there’s so much to love about painting, including the smell (my drawing and sculpture-based studio mate often comes into my studio just to sniff the fumes). The medium of painting allows that anything that can be imagined can be created. This isn’t true for other media – sculpture is bound to laws of gravity, photographs need to capture moments that exist in time and space. I get to paint whatever I can imagine. I want the compositions and the perspective in the works to be a bit off-kilter because I like painting impossible bodies and spaces. For me, it’s important for a painting to be a painting and not a replica of a photograph. My colour palette involves fleshy tones because all of my works relate to the body in some way. I also feel that the filmy, oily, gooey. medium of oil paint resembles skin and the body in a way that no other medium can.

What to see more of Amber’s work? Visit her Instagram and website. Find out more about Bodywork.

As we edge towards this weekend’s Sunday Music, we caught up with local songwriter Kat Wilson to chat all things music. Blending coastal blues and dreamy folk sounds, Kat has played at WAMFest, Fremantle Folk Festival, Nannup Festival and Fairbridge Festival.

Howdy Kat, can you tell us about yourself and your intro to music?

I’m a ginger living in the northern suburbs and I am currently growing citrus in the backyard. My music is best described as coastal blues. I love to tell stories about what I see in the world around me and what I see internally. I’ve always got a banjo or guitar close by to pencil thoughts and match some melodies up.

You’re playing Sunday Music this weekend. Who’s in your band and who plays what?

The band for Sunday will be a duo. I wanted to simplify the sounds and force ourselves to sonically fill the space. Dan Ablett will be playing drums on Sunday and singing some tasty harmonies, and I’ll be singing and playing electric guitar and banjo.

Kat Wilson performing

What’s your best gig or tour memory?

That’s a hard one to answer. Every gig and tour is so different and unique but three weeks ago I was up in Exmouth playing a bunch of shows and absolutely loved it. I met some really beautiful people and had such fun shows. It was  pretty spesh.

What’s up next? Do you have any new music in the works?

Yes! I’ve got a couple of projects in the works at the moment. A new single, a live EP and something I don’t think I’m allowed to say yet.

What can we expect from your Sunday Music gig?

A roaring guitar, jungle drums and heaps of new songs to share. We’re hoping to create an environment that anyone can feel comfortable swaying a little, sitting on a picnic rug munching cheese or even grooving around like an air dancer at a car yard.

Want to find out more about Kat?

Follow her on Facebook and Instagram.

Sunday Music runs 2–4pm each Sunday from Oct – Mar

Sunday Music is free and showcases the finest local musicians. Be sure to get down early as capacity is strictly limited. Sunday Music is possible thanks to the ongoing support of Bendigo Bank – Fremantle Community Bank Branch. 2020–21 is the twelfth year of the longstanding partnership.

Following a successful start to the season, Fremantle Arts Centre is excited to announce a brand new batch of Sunday Music acts to round out 2020.

Showcasing the very best of WA’s live music scene, Sunday Music runs on FAC’s South Lawn from 2–4pm every Sunday from October through to March.

November and December highlights include the high pop energy of Soukouss Internationale’s Queency (8 Nov), the jazz and Persian stylings of Kate Pass Kohesia Ensemble (22 Nov), novelist and songwriter Sam Carmody alongside iconic duo The Money War (29 Nov) and Grace Barbé’s (13 Dec) blend of afrobeat, reggae and pop.

“The first few weeks of Sunday Music have been absolutely buzzing,” said FAC Acting Director Marcus Dickson.

“It’s been great to see people are so eager to support WA’s musicians and enjoy live music. Come and discover the talented local acts that round out this year’s program.”

Line Up

1 Nov: Galloping Foxleys
8 Nov: Queency
15 Nov: Felicity Groom
22 Nov: Kate Pass Kohesia Ensemble + No Nomad
29 Nov: Sam Carmody + The Money War
6 Dec: No Sunday Music | Bazaar
13 Dec: Grace Barbe
20 Dec: Tom Fisher & the Layabouts
27 Dec: Adrian Dzvuke

Sunday Music is family friendly and free to attend. Picnics and blankets welcome. Get down early, capacity is strictly limited. Sunday Music is a licensed event.

Sunday Music is possible thanks to the ongoing support of Bendigo Bank – Fremantle Community Bank Branch. 2020-21 is the twelfth year of the long-standing partnership.

Jan–Mar acts will be announced in Dec.

FOR MEDIA ENQUIRIES PLEASE CONTACT: LIZ WALKER

Jocelyn Gregson is a prominent WA artist. As an exhibiting artist, painting and drawing tutor, and purveyor of prints at FOUND, Jocelyn shares a long history with FAC. We recently caught up with her to chat about the classes she teaches, advice for novice artists and the inspiration behind her Desire series, which is available to purchase at FOUND.

Hi Jocelyn, you’ve had a long involvement with Fremantle Arts Centre. How long have you been teaching art classes at FAC?

It was so long ago that I took my first class at FAC that I’m not sure exactly! I was invited to teach a night painting class for a term in the 90s and it went on from there. I was offered more classes and I eventually gave up any other teaching.

I’ve taught drawing and painting in many guises. Some years ago I was asked if I had any ideas for a new course and I said, “yes, Drawing for a Travel Diary.” I’d just spent a few days teaching a friend to draw so that she could make one during her trip to Europe. The class is kind of simulated travel, as we visit and record the highlights of Fremantle and surrounds.

What have been the highlights of your career at FAC?

I love taking the class Acrylic Painting for Beginners From Realism to Abstraction where people may initially struggle to make a small painting of a capsicum, but through learning about colour and form eventually get there. There is delight in giving information, instruction, and seeing people evolve from often being afraid to begin with, to the thrill of making a painting. What a privilege to be involved.

Probably the most fun was had was in a class called Painting The Moment. Inspired by ideas from meditation and bringing attention to a variety of unexpected subject matter from air and freshly gathered seaweed laid on black plastic, through to Dacron (poly fibre) tossed up for the ceiling fans to fling about.

What would your advice be to someone that is nervous about taking an art class for the first time?

Just do it, you may be surprised.

FOUND sells a range of your art work. Can you tell us about your print series of desserts? How did you make them and what was the inspiration?

The prints are from paintings made following a concentrated period of studying the history and theory of still life painting. These cakes are not displayed elaborately on a table, they exist in the space of the canvas and refer to the store bought moment of the time they were made. There’s an element of desire as well, which is reflected in the name for the series (Desire). The first paintings were the éclair and cream bun, which sold during an Old Customs House Artists exhibition held at the Moores Building. I’m told they now hang in a dining room in Melbourne where they generate some very interesting conversations, how wonderful!

Check out courses Jocelyn is currently teaching and view her print works for sale.