April 6 – April 29, 2017

Woven // Roomsheet :: HERE

Translated Roots // Roomsheet :: HERE

+ Artist and curator introduction, April 6 5:30pm- 6pm
+ Performance by Alfira O’Sullivan and Suara Indonesia Dance, April 6, 7pm
+ Discussion: A Third Space : Transience and Identity in The Transnational, April 20 5:30-7:30pm
+ Monograph x Verge, April 22 10:30am-4pm
+ Art crit and artist discussion, April 29, 1-3pm

Gallery 1 // Leyla Stevens, Bridie Gillman, Alfira O’Sullivan, Kartika Suharto-Martin , Ida Lawrence and Mashara Wachjudy :: Woven

Woven is an exhibition and performance event that ties together the practices of six female Australian artists who each have personal connections to Indonesia. These connections exist through the artists having an Indonesian parent, being immersed in the culture and living part of their childhood in the archipelago, and living there more recently. The artists’ works explore the complexities of history, identity, memory and cross-cultural understanding – on both personal and national levels – and span installation, performance, painting, collage, photography, video and sculpture.

Gallery 2 // Shireen Taweel :: Translated Roots

Translated Roots conveys aspects of ‘traditional’ identity through the acknowledgment of early Australian settlers from the greater Muslim community, highlighting the complexity of change through the sense of transience for those who migrate to sow their roots within a new context of a greater global community. Mushallah formed by hand from sheet copper partakes in a cross-cultural discourse, while its sense of the arcane and shifted structure opens dialogue between shared histories and communities of fluid identities.

Translated Roots is a body of work that responds directly to the oldest standing Australian mosque located in Broken Hill – the mosque is situated on the site of the former ‘camel camp’ where Afghan and Indian camel drivers loaded and unloaded their camel teams, from the earliest days of Broken Hill NSW. The site and its history are part of a re-interpretation of Muslimhood within contemporary, cross-cultural Australian communities. A translated landscape along these ideas intrigues me – representations of Australian identities only just touch the surface of the diversity of communities who have found a home here. Formed from sheet copper and pierced traditionally by hand Mushallah draws direct links to the relationship of the first Afghan settlers to the land and their experiences of transience to our present relationship to the landscape and currents to our own familiar environments. In this country, we rarely see ourselves as having legitimate roots and the story and heritage of the Afghan cameleers defies the erasure of our identity as Muslims in transnational settings. In direct dialogue between the urban with the rural, Translated Roots bridges across distance and geography, bringing to the public the interconnectivity of cultural synchronism within Australia’s Muslim communities.

This project was assisted by a grant from Arts NSW, an agency of the New South Wales Government and supported by the Visual Arts and Craft Strategy, an initiative of the Australian State and Territory Governments. The program is administered by the National Association for the Visual Arts (NAVA).

Arts NSW