A RARE LOOK INTO ARTIST STUDIOS

The curtain is being lifted at Fremantle Arts Centre this September.

Meander through our heritage hallways and see where the magic happens with some of our incredible Artists in Residence ready to show you around their studios.

See the work and meet the minds behind it all!

Sarah CrowEST operates across contemporary art, design, craft and performance. Underpinned by a deep appreciation for sound and architectural forms, her recent output combines painting, working apparel, diagrammatic scores and the graphic qualities of text.

Cim is a First Nations Artist who completed a Master of Visual Arts by Research at ECU in 2020. She has a Photography degree obtained at ECU, and previously an Arts degree in Anthropology and Politics from UWA. Subsequent to this she studied and worked as a Social Worker for a number of years where her main emphasis was in the area of women’s health. She has exhibited her art and photography locally and internationally, though, her priority is to develop acute immersive processes and practice. She has a multidisciplinary practice that includes, printmaking processes, photography, ceramics and script. She travels long distances to the Western Desert where she draws on her Indigenous ancestral connections and connections to Country to explore and discover narratives that are lost from memory and the historical landscape.

Caroline Goodlet’s multidisciplinary art practice reflects her interest in process and materiality, the passage of time, and the coexistence of past and present as a way of understanding the human condition.
Caroline’s process driven works explore the accretion of layers and complexity through simple repetitive processes.
Caroline completed her Bachelor of Arts (Visual Arts) at ECU, and her graduating works were exhibited in the Hatched National Graduate Show at PICA. Other print, photographic and ceramic works have featured in local exhibitions.

Gera Woltjer is a meticulous collector: her studio overflows with found and carefully researched materials; her sketchbooks are dense with notes, plans and drawings; her camera and computer are full of images of the often-overlooked patterns, colours and forms of the world around us.
Woltjer began her practice in drawing, textile art, and in developing her strong intuition for working with colour. Working across photography, video, textiles and drawing, Woltjer began to nurture the interest in the patterns of the built environment, that would become a life-long fascination. The particular shapes that pique her notice are regular: grids, fences, tiles, pool lanes. Woltjer reflects on the patterns inherent in these materials and how people use them to organise their belongings, their surroundings, even their thoughts.