Scholar and inaugural director of the new Godinymayin Yijard Rivers Arts and Culture Centre in Katherine Cath Bowdler discusses the work of two indigenous artists Brook Andrew and Gunybi Ganambarr and suggests that they are both operating at a conceptual level as bricoleurs in a globalised world, inventing new juxtapositions of materials and revealing new ways of seeing the world through the prism of local histories and traditions.
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.
American artist Janet Echelman reshapes urban airspace with monumental, fluidly moving sculpture that responds to environmental forces including wind, water, and sunlight. The artist’s ongoing series of aerial net sculptures started in 1997 when she was in India as a Fulbright Scholar and became fascinated with the beauty and movement of traditional fishing nets. In 2011 her installation 'Tsunami 1.26' hung over the Town Hall traffic intersection in Sydney as a joint initiative of the Powerhouse Museum and Art and About Sydney.
Drawing Studio and Program Co-ordinator at Monash University Stephen Garrett examines the optically challenging artworks of Caroline Durré which blend patterns and perspectives.
Head of Environmental Studies at the University of Tasmania and writer Peter Hay describes the recent paintings of Sue Lovegrove made from her experience of different islands off the coast of Tasmania - Maatsuyker Island, Egg Island and most recently Tasman Island. Lovegrove began with painting clouds but has moved on to paint the shape of the wind.