dream home

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'Ifweha veret a inedallclement of dreamin our memories.ifwe 11:1 \"1,:gone beyondmerel y

assembl ing exact recollect ions.hitbybitthehousethatwaslostin themistsof lime willappea r

from out the sha dow Wedo nothin gInrecogni seit withintimacyit reco versitsentity,illthe

mello wnessand imprecision of the inne r life.Itis asthough something fluid has collec tedour

memori es andWI."ourselvesweredissol vedin thisfluid oft he past.'I

Thisexhibitionexamines thewaythedomesticworld swe haveknown insert theirpresencein our innerlivesthroughdreamand

memory:our psychesarcinasenseembed dedinbrick sandmortarandthe banal objectsofoureveryda ylives.Thedomestic

ther eforeisallimp ortantsirefo r investigatio nhy co nte mporary artist s.Hachclardspeaks of what is 'mellow ', 'im precise',

"shado wjy]".'dissolving','fluid':these wordshaveguidedtileselectionofthe workandthereforedetermine themoodoftheshow.

Theypointustowardthetwo underlyingbut integralthemesintheexhibitio n:perceptio nand mCIllOI)',absenceand loss.

0,.('/11111/011/(' wasinspiredbymy meeti ngillParisat theCitelntcrnation ulc desArtsin2005 withan importa ntIsraeliartist,

Dvo ru Morag,who usesthedomesticasherprimaryplace ofinvcstigation.!Itbringstogether established and emergin gartistsand

investigates ways in which they explore thedomesti cin their cur ren tart practi ceinIIrangeor med ia- painting.dra win g,vide o.

sculptural andperforman ceinstallation.Thetitleis also intend ed asan ironic play011Australian sfovcaffai rwith ownin gtheirown

'dreamhome'.now increas inglyout of the reachofmany,Inrecentyears Australia'sdreamhome- the suburbanorinner city hou se

andgarde nasp ired to bymostAustrali an famili es- has grown tonightmarish proportions.Ourcitiesarcspa wn ingsubur bs of

massive ene rgy incilicien t~k~lansion ~.Inevitablythetitlealludesto thisphenomenon.

(i,l' lo nBachcl.ud.Ih,'I'o("/;,.\"I.\j'<lu',Thl'('/0,,/,./.",,1;<1111<1" Iii'!-:xl"'n,-n,(' Il/fllllUlC".'ipa,,',]<)<)-1.(lir~t I'lIhl i~l1<'d1'15S).

ncacon

~ III2lJ05 I\\':1';rl'~ lIkll l.uthcl'l1il\.T"ity ol'Ta \lll ani,I'Sl{o"m HHld\kt'11 1]" .11Slll,!i"illt'ari-,

-~-,

DvoraMorugisanIsrael i artist who worksacross severalmedia. sculpture. pa intingand installation.Iwasveryinterestedin her

dctcnnination tcliseher homeasanarc hiveor resourcefor herwork.Iwas exc ited bymuchof herwork,but the scro ll paintings

suggestedthe possibi lityof trauspcrtationandsotheideaforthe exhibition wasborn. WhileresidentinParisforsixmonthsMorag

was paintingusinga hori zont al scrollfor matand imagerysourcedfrom herown hem e,photograph ed at night. EntitledLillt'bvt.ine.

theserieswasdesign ed asan install ati on with theviewer placed in themiddl e look in g outandaround- 10allow him/her10lap

intohis/her persona lexperience.Shesays alsotha tshethou ght ofthis asbeingan unstable. an uncom fort ableplaceforthe viewer.

Shehas1I0Wcompleted thirtymetr esof painting.Obscurin gtherealobject sdep icted in thepa intingsarcrhythmi c stripesthrou gh

which we sec thebanalclementsof herdomestic space.Theseinclud elight bulbs, lampshad cs,conta ine rsfor food andutensils,the

clutter whichaccum ulates011kitch entables,a tablesetforafamilymeal.Thestripesallowtheobjectsilltheimage toexpandand

con trac t.lightand darkalternate creatinga rhythm,we sec,wedon'tsec.The overlaying ofstripes isabo ut how we per ceivereal ity,

in particularpainful andsometim eshorrificaspectsofreality arctoomuch ;we callonly tnkc smallglances or lookthrougha barril'I".

Morag 'smotherand fatherwere survivors ofAusc hwitzand asa resultshesays there were 'difficult"imagesamongstthetinn ily

photos. Asachild Morng cou ldonly look at thesephoto s withher finger s covering her eyeswhileimagini ngthis otherworld.

IrecallMcragin2005sayingthatshe was n'tentirelysurewhatthe workwasabout. There wasthequotefromIsaiah 45:7 "lronn

thelight ,andcreatethedarkness."!I lowc vcr,in theprocessof mak ing thework itsintent becam eclear- thereisthedetermin ationto

make visiblewhatsociety triestoignore~the la bour andeffortamoth erinvestsin thehom e.Thecompulsive. re pet itiveaspectof

theprocessofpain ting is'mi meticoft..lailycho resinthe home ".' Mo rag says:'Iwouldlike to mark bymywayofpaintingandIII)'

subje ctsallwhichisnot.\·C'\ r: allwhich is110tconceivedasheroi cin culture".'Thereisalso. shesays .'thesearching for the:absent

motherthatlea ves(scatters"!behindher signs that<Ire witnesstoher being '."

.' TheJ,·m,a/t·/j/HiN. ,.St:lIl,bh lEdnnm. Doubleday,'Il,t('Illnp'lny ,:"C\\)'1" 1...I'lhI"r 1214

4 Je nnifer ROgCI",(h i.'.-1/ "',1) _1r/n,f, (Jll t' .'/lllldt'nAg' /IIl,~(1I17,lJlli\CI..nyof.\ limlC", )!;1~1;h l l' ISthc ..i..,WlllCCtlh\llllthe\\dl Ihllp://\\\\II"Jellrllgcr...lll'llhl'SIS a..px),pI

PatHrussi ngton'swork iswell known to Austra lia n audiencesandcreates averydiffere ntfeeling:herdomesti cityisoppressive

and dan k.There isaesthet icpleasuretodrawyou inbutIH.'r im ages arc perver se :thereisnocom fo rt,One istem pted tothink

orBrassingto ll'swor kasautobiogra phica lbutitrarely is,Anexception.howe ver.isthe sculpturalinstallatio n,Book01'.101/(1",

1932.sil1/,; ill~intol/ world 1\110.\"cbarswouldhold/1/{'./i H I/ iJI"C\,(,/"(I99J)made shortlyafter her rather'sdeathand!lO Wremade for thisexhibition.Theinstallationconsistsoffl oorboardsleani ngagainst the gallerywallben eathwhic h arcSOIllCdiscarded

itemsof he rfath er'sretrieved

from

emptynothingnessofgriefand mourning." Alightsource crea tesfromthefloorboard s abeautifu l formalbar-likeshadowOil the

wall.AIIIlC Marsh points outthattheHook(~"Jol1l1histhe less well-known part oft hetriptychsilt ing betwe enthewell-kn o wn

photographic installations111myFothvrs/Io /ls ('(firstversion,1992)and11/.\fl',\lothe/".\-Honse (I99-l) ,With inthepsych oan alytic framework withinwhich Brassin gton typic ully works.'theHook(~l.JOIwhisthe1'lII1'l1e rn~ofthe triptych:in man y respects the

punctum of thepsych oanalytic scriptand thediscuipowcnncut of thephallus .'.'

Since 1995.Carolyn Eskdalehas worked011unongo ingseriesorinsta llations ill Aust ralia,Europe and Asia with the generictitle

"room'.'Theseworks engage withthe processes amireconstruc tion ofactual,remembe redandimagin ed livingspaces." Her

installations arc about the 'way we psychically inhabittheworld- (they) ultima tclydenoteho w profoundthathabitat ion is.' !"Often

hand-sewnmuslinwall-scr een sarc constructedwhich serveInhlurthedifferencebetween inside and outsideandbetween whatis

visibleandwhatisinvis ible. Sometimes realobjects,disassembled.mecombinedwithinor ndjaccuttothe walls- suchas ca rpet,

mom 12.96 f.\lrsBin/\".'ii l/illKmom),herparents'bedroom furniture.mom2,98, Eskda le' s childhood bed .Reco nstrnctedDanghtcrs ned.1997.Therelocationofthefurnitureillthegallerysuggestsits absence fro melsewhe re.ami rendersthefamilia r unfamil iar,

Eskdalesee ks also toproblcmatisctheprimacyorviewingas sheinvestigatesher notio nof theintangibil ityofhum anmemory.

Unlitll'dmom , 5.081110\"CsEskdale'smomproject astep fur lher,Theworkisaninstallation orareconstructedca ravan anne xoand

kiln) SpinhIn,\ nn..:\la r, h. I 'd!hrl/\,ill>;IIJI'.!lJi,i,II'"dl'lI"I,,>;rd/,II,('h,:)l) uilltu,I'I"::S'.201Jh,tr l,b: Il t. I' I _~

X Anne \I;ush.rbnl, I'I~

'J (·al "I .\1l1·:skd.1k ',notes,!OW(

its adjacentroomnn atabl eliesabound book ofphot og raphs.The caravan wa sill Eskdale'sfamilyforthirty yearsand Esk dal e herselfspent man yholidaysthe re;mostrecentlyitwaswhe re hermotherspe nta101oftimeafter herrather died.'T he photographs

re presentthefinalcontact[touch)withthecaravan.Theydocument aninve ntoryofsorts,buta subjective.inte rp ret at iveone that

con tlatcsthemothe rand thedaughter into oneplace : II

ElvisRichardson'sSlideSholl' l.andDorothy}()()(j ispart ofSlide Showt.and,apoolof overJO.OOOslides creatingavast library or

anonymousfamilypo rtra itsand traveldestination s,purchased fromcbayandsec ond-handstoresandcollected overthelastseve n yea rs. Richard son isacollector,ahab itsheattributes in parttobein gadopted. 'Ihaw anempatheticattructio nto objectsIlindill thrillsto resand in therubb ish.objectsthat arcnot wa ntedor10\'('0anymore.Theobjectsthen becometherawmaterials.The work is abo uttheirt:lle: l ~I\tsomele velshesaysthe workisalsoabo utkeepingfam ilies together.TheDorothyElsburycollect ion consists 01'4000slides and itisfromthisarchive tha tthedualprojecti on iscreatedforDrc.nnlknnc.Do rothy,thephotographer,washorn in 1908.Do ro thyandher husbandJa ck Elsbury had a ranc h inSac rame nto,Califo rn ia.The imagesweretake nbetween 1953 and

19 7(1and fall into twomaingroups- thedinnertable still- lifesand Jack asthe'Marlbo roman'.These images speak ofanidealised existe nce- Jack011'011hisho rsetodothcfanuwork and Do rothythedutifu lwife andhom em aker.JackandDorot hyan:,Ichildless couplewhic hmakesthework some whatpoign ant. For Dorothythemeticuloussettingofthetab leco nstitutesa for moraesthetic!

artisticexpression thenrecreatedin heramateur photo graphy.OnesuspectsthatiI'Dorothywasborn inanothertime shemayhave becomean artist. Fur wome nsuc h asDo rothytheartisti cimpulsehadso meoutletwithin theirdome sticinterio rs.

Man Warrell and Debo rahPoll ard'sperformanceinstallati on isthethird instalmentofanongoingwork entitledApp ar('ut(\·Nothing.

Thefirst two instalmentswe represe ntedatInflightGallery, Hobart,in2006.Thc workisamix oflivepe rfo rmance and installation

that exploresnotions of absence .lossandgrie f All worksarc madefromtask-basedactivitie s,which the artistsSI:'Ieach other,This newinstalmentnf Applln 'I1I(" Nothingbegins witha live performan ce,whichoccursinthefirst hourofthe exhibi tion.The II Carlll} II bk,l,lh;'" n"I':,..::om~

performancelak esplace atadinnertable.asetting norm allyassocia tedwithin tima tecom m unicat ion.but in th iscasethe

dominan tmood isoneofsad ness andlossco ncerni nganabsen t friend.Dur ingtheperformance.thetwoart istsarcservedathree

-coursemeal. i\ third placeissetforallnbscutdiner.Isthisfor"lost friend,or relativeorinex pectation OfSOI1lL'0I1e 'sreturn?

Through ou tthedinnerthe performersundertaketasksastheyrespondtoinstructions.deliver ed thro ugh headphones .The workis

co nsci ouslyrando mandunrehear sed,The":llInposer'!ohnCage(1912- I()t)2)hasbeen a significantintlucucc for both Wa rrelland

Pollard and Ihisis reflectedintheuscof chanceand randomnessinallthreeversio nsof:J"fJclH'III~1'So/hing.Cage'sideas011silence

arcalsoinfluen tialamiunderl inethe them eofabsencewithinthewor k. Duringtheperformancethereisaproj ectionOilan adjacent

wallofa pre-recordedout-of- focusfigure takingpari in thedinner.Thedinneritself isrecorded andlater re-playedasaprojection

onto the rema inson theta ble.Onanother wallarcprojectionsof clementsfromcar ficrver sionsof""IUIH'''''Y,Va/bingincludinga

'w alk through'ofahorne.lcf in a hurry.Icaving behind theremnan tsofaperson al and privat eworld.Thisvideoisinterspersedwith

videodiariesoranabsentfriend mad ebythe two perfo rmers

Stepha nie JuncssOC'U\'T C'isfirmlylocatedinthedome sti c .in particularwiththe post-modem ideathat the decorative.domestic

surfaceisIlOlonge r ascconda ryand le sse rdement10thearchi tectonic.Shehasbe en influencedbythetheorie soft heninet een th

ccmury archi tect Goufri cd Semper .Ill.'arguesthat"[bl uilding origina teswith theIISr.:ofwovenfabri cs10 define so cia lspaces.

Specifi cally,thespace or domesticity.Thete xtilesarcnotsimply placedwithinspaceto defin eacertai n interiority,Rat he r.theyarc

theprod uction orspaceitself..,Housingisalleffectordecoration.'1.\IIIIIomosicknessJonestransfersarchitectur alfloorpla nsonto wave-likepat te rned tlockwallpaper.Thceffectisto crea tea ho useplanakinto mynightmarehousc,implying an unendingquest

and apathological co nd itio n,hencethe wor k's title .She says itis 'asifsome fana tical reno vatorhasknock ed do wn and relocat ed

walls,cndlcsslyshillingboundariesandreconstruct ing space.'I~ThreeofJones"worksfrom herShadowofLovescticsnrc incl uded inthe exhib itio n:111l'CO/Oil)"(4'1-'1'0,1" /.Sol.ovvlvandFreshLust,111thesewor ks theartisthasinscribedherownlife-size silho uette ontorhc patternedwa ll pa pe r.Forthosefamilia rwithCharlo ttePerkinsGilman'sshortsto ryTherel/OH'mil /plll'er, IH99, the n:arc

1.l ,\ ~'1I11\111ilrl/'::tl h)\1;1[1.Wlg!.::y.'Lnlitk,l ThelI"lI ~i n g\If(i"'lltkr'. inIk alri/ (',ll'llllin<t.cd,S,·II"'/II.\"ufI,I .V"" 1r-.SewY" rl. PnnccrouArcbuccrural

PI'::",l'}l)~,p_llt 7

10

obviouspointsof reference.The wor k wasinspiredbyulifestyleshow promo tingtexturedraw wallpa perdesign edto hepa inted after be ingadheredto a wall.Joneswasdrawntotheidea of ablanksurfaceand proceededtoinscribeher ownform01110thesurfac ewith coloured pen cils(a medium assoc i..nedwithchild hood ).Shesaysthemed itative wor king proce ss,unlikethepatient's 'restcurl" in

Thevctto wWallpaper,\\TIStherapeuti candsoothing.

Ruth Frost 'sphot ogr aphic. videoand digital art pract iceisla rgelyconcerne dwith memoryandchild hood.lIe rmotherdied when

Frostwasveryyo ung . aneven twhicheffecti vely de stroyed her capacitytorem emberher ch ild hood.Forall exhibiti on in 1995 Frostwrote: " had110tangiblememoriesofachildhood.A fe wglimmers- mymotherdiedwhen Iwast\HIandahalt: Ire member

the co n fusionandlear.Ivaguelyrecallscen es from myfather'sremarriage perha psayearand a halflater.Ihave been described asaperson withoutapast. Untilrec entlyIposse ssedIIOl1e of theusualmcmo rululiu tha tacco mpa niesalife- no pho tog raphs.no

happy-sna ps,nofamilymyths.My lifeitseemsbeganwith myfirs tyear athighschool.Atagetwelvealight isturnedon- lI1emury

functions.'l5This gap has shapedmuch of Frost'sartpractice.'''aria/iol/s/I/ l l /Rooml-l l attempts10 createanevoc atio n ofmemory itself Inspiredbyadisu sed room.achild'sbedroomorplay room which FrostfilmedO\"Crsuccessivevisits . thevideogives us imp ressionsoftheroom indifferentcon ditio ns andvaryinglight. A dominantcleme nt in thework isapowerfullight comi ngthro ugh

thewindowwhic histheIl:K'uSof thefilmdip.Thelight drawsusinasdocsmemory,butitalsoformsathreshold beyondwhichwe call110 longersec. Sowen..-turn to our owninteriorreminiscen ce. Memoriesexistin fragmen tswhich have apsychodynam icrathe r

than atransparentlogic.

No wout of thecloset,thedomesticbecom e saso urc e ofinspirationforcu rren t artist s.Artpra ctic e:nowincludesthespaces

offemininitythe "dini ngrooms,dra wingrooms.bed rooms .balconie s .terrac e s and pr iva te: gardens- illshort. thespac es of

domest icit y".If.once subordinatetothetheatre s,thcnightclubs.cafesand bro thels- themalewor ld ofthellan elli". Nolonger isthe domesticantithetical to art asitwasthoughttobeduringthe pe riod ofhighmodernism.lnvcnn1/0 1l/l'isbuilt aro undthework of

l.'i RuthI'fI)~l,UupublivhcdcchrhinonI\"h.:,.I <)<)5.I lclcn \bX\\l:11(i.,J k r~ ,l'anb"rra

1(, Christophe r Reed.ted.ISol <1111111/1.'.71,('SI/1'IW.,',lioll",OOIll I', {I, j n·111Jl()'/i 'l ll:lr l.11I'/.,11"(111/.'111m'.1')i)h, lllilIllV'andHud -on.

severalartists for who m thedom e sticiscon: business:Dvo ruMora g, PalBrnssington.Carolyn Eskda le. Ruth FrostandStephan ie

Jone s.Whatwehave,therefo re.inDream//omeisworkwhichhas evolvedovertime andsitswithin thecontex tof maturebodies

o

r

work.FurElvisRic ha rdson,Man War re n and Debo rah Poll a rd thedome st icisnot centralbut their workpro vides significantand

compellingvariationsouthcbroadthemesoftheproj ect.

Ihopethatengagingwith theseworks - intheirvariousmaterialformsand theirteasingoutofconc epts- willtrigger ind ivid ual personal memo riesfor[hevie we r and perhapsforsome.lend10new ways

or

/I

PatBras singt onIn/sbornillHoban. Ta.HIIII/liawhereshe

continues10live and work.Shegrad ua ted with aBachelor

ofFineArts degreeillJ98Jji,II01I'(·t!hya.\taster0/Fine

..Irisdeg rccill /985fromthe TustnnnianSchoolofArt, Univcrsit)'ofTasmania. Pal Hrus singt on is/10 11'0I1<!

o

r

twcntvycarssht'has eshihitcd widelyholh illAustraliacnu] overseas. Amajo /"S/If'Ft:\'ofher work lI'as showntil'heian PotterG(llh'JJ~ University(~l'\/('Iholfm('in20(Handher workwassclc('Iedlor inclusionill Reason and Emotion.

Bicnnale ofSvdneyillJ004 ot thvAn Gallery olSSWand

'he .\fuseum l?f Conmnponnv~'n. !'l:l'dIlC:l~underlining !II'I" importanceinthe contexto/ill/erna,iol1alCOIllt'lIIl1Ol"OIy art.}Icr workisheldillmajorpubliccottvrtlonsull cIm(ll~\, privatecollections.

f/t/'

ssington

CarolynEsktlah' ttvesundworksillMelbourne. Eskdale began her arteducotion atLat robe University.H('luligo (I983-86) und luterat the,'ict orlan College ofthe..11"1.\.

(1988- 1989).III200f)she completed IU'I"J/astt'rs ofFine Art

IIfR.\I/TUniversity;Melbonme nndis currentlyIII/dertaking IIdoctoratetitthe Vict orian Collegeoft he..11'1."',Eskdale hastaught sculpture (/1 RXI/Talld is currentlyfi'//c llingut thl!VCA, S';II('e If)f)() she hashad IIIIII/enniSsoloexhibitions

including(lrecentsoloshowheldat riC CA,,\/el bo/( I'I1 ("

]()Oland ,!Ie CanberraContcmpnnny ArtSpace.Canberra. ]()02.

ltcr1\'0"11. has beenshown in various group exhibitions including1Iconnniss inn forClaustrophobia. IA'ON Gulletv.

Birminglunn. UK(/998).undAll This and Heaven Too.

Ae/elaide lJiellnoleofAnstralion:/rt.ArtGallery(I!"Solllh Amlrali" (/f)98).lind in 2004 a work wascommissioned

li}r inclusion inOn Reason and Emotion.tln:,\'ydney Blcnnalc. A1"1Ga/lcl)'ofNewSouth lI(tles.In If)fJ.Ishe1m...

awnrdcd the1'001'CI'InstituteStudio atthe('i f(:IlIft'I'IUI /iollu l

desAn s,Cllldin2 ()()(,she\1'1I.'1awuntcdl!IcAustralia Council StudioillHarc elnna.

Esk

fiElfp

lyn

"

RuthFm stlin'salld worksillltahnn.I fer practice.\pm ls

litedisciplinesOlp/lOlography,"igil alimagcrv. video

andsound F/'Us!stndicd111riteTasmanian SchoolofArl,

Univcr.v;I)'ofTasmaniocomplet ing IterMI'~I in/9N7and IterPhl)iI/2()(}} .Be/ll'('('1/19S1J(l/u119Y5 she lectnrodin

Photomedia at theCanbornsSclIOO!

ofArt.

Univerxity(~rTtI,w/(mill. lIa works IUH'£'beenexhibited insolo and groupexhi bit ionsthroughou tAustroliaand Ncu" Zea la nd,inchnting Domestic Disturbancesatthe

Natinnu lGal/eryofIlctoriu(/996).l

t

cr

variouspr;I'III Calit! publiccnllvctionsilleludi ngtheQueen

Vic/ oria !\ II/.\'('II /1/alld Art Gallery. l.annceston. f!le,\11/,\'£' 1/111 (!{Co ntl'lJI/'01W )'Al'l Hrislntnc. theArt Gallery(~r.s·OIf111 AustraliafllldtheTusnumion.H I/SCUIIIund

.

t

rt

SIC'p hanieJonesIiivsandworksinCunberr a.SitecOf1lldl'fed

herBachckn: c!I Al"/s(l-ineArl,\) ./inlllCuninUniversity:/1/1 with Dist inct ion in 1988.lwr.\losler(!!"Lellt''-s(IJ'omell S

SI/lclksJwithFirstClassHono urs ill /996 fromthe AustraliallNotional University;Canberraand illJOO" her

'\/asler(!IPhilosoph)'ill11s"a lArtfnnntheSchoolofAn atIht'AustruliunNotionalUni vers ity,Cunlwrru. Shehas lIod 7solo

exhibitions.

GIIIfCI:1: Canberra nndshe liasbeen illnumerousgro up exhib ition s including"II in'1IlAfternoonat 'heJ-'aclf lly

Galfer):.\Iol/tlshUniversity ill]OOltllldliteRobertJacks

DrawingPrizeatthe}Jcl/d igo/11"/Cal/"r)'ill2(}(}(j.Herwork isillvarious INlh/ie'collectionsincludingl!IeAr(Gall",y I!l

H" stcrIIAustralia.CUI'IillUniversityGattcry.!'erlh andthe

Nt/tiontl!Gattcry

ofAustralia.

Step

~jf

s,,'Old \: ;::005 20 IU', (ldl l

/)ml"tl,\/o raglin's andworksill TelAdl:Isra el.Herart

practicerangesIIcmss scnlptnrc, ins tallation and painting.

She teachesart atthe Colleg e ofTechnologica lStudies ill

'1f'/..lri,: ,\Io rag comp lded //('1".\ltlStcrsillBiologyat/J('I1

Gurian Universitv.lsmel in IIJSO,She sw dh'dartbetween

/987and1( 8 1) (/1theRat-~;"lIIJ,II' !tnst ttnte,IS/'lld (lndill

198 9shesiudiec!(,!l i l/cschl'll.l'h I!/Iil/lillg inSeoul.f;ur('a, Shetrained/1.\'1/11Ol'!teacherhelll'ee ll 1989 /llId Il)f)I at

the Teachers TntiningCollegeatRnm tHusharo n.Isra el.

SheI//Ishad vorinusteachingpositionsill 7i:I,·lFiI':ill 1993 - ]O()O"hetaughtat "Ami"Arttnstitntetlndsince]003 she!lI/Sb{'('11l('achingartinIIIl' Collegel!f7ixlmim lStudies

umlatBvitltatochcm.whcrv sheworkswith diw,h/edwar

1'('fe /WlS , III]0 07she com menced e!ocl o ral stndirstitTel

.II'i,'Uni vvr...i~l" Shehas had 16solo exhibition sand has 111'('11innumerou...gn mpexhibitions ill Jerusalem. /f'lAl';" (/fulParis,

II('/'workisheldillboth IJllhlic/llIdprivatecollections. In

"111/1 n/If"reu isaHoba rt-based artist alit!musician11-//0

createsvideoandsonnd instnllutions.sing le channel\'ideo

andelectronic/electro-acousticIII/Isi ('.III191)9Maltreceived

tillAllllc(/1/(/GonionSUII/sto~internation al I'is /l(/IArts Se/lOlm's hip alld mo vedto Il-I11CO m'c/:Cunud a toSI1lC~)' forhisMasterofFi neAr t.\"degree.,\10 /1has vshibitedill .\ )·tll/£,.\',Melbo urne.thro ughout Tasmaniu. ''tf/lCOII 1'£,I;

]i,b or;CzechRep ub licuml;\'£'\1'X<.'tllllu d Ilc iscllrn'lIt~l'

undert akingaPhD at theTasnum iunSchoo f ofArt,

Univcrsitvo['lil,m w llia.

Dl'homhPollardistil/artist.perfo rm er anddirector hosed

;11Sydncv.llvr workfocusesOilhybridcolkibon n ions with

vets ondnon-arts practitioners.SIlt'hascreatedtImnnher

ofmu lti-di.\'t·i"liued/Jt'I/ iJr/ nonct 'alUl installat ioll works.

DeborohwastheArtisticDirector ofSu knnanco Theat re COIllIWIlYin ltobcrtfn nn1997If)20()(}.III20" f) Deborah

tvcvivcda lI'i ll StOIlChurchill,\fell/ o r ialFellowshipfor

research

;11

Scho lars hip in ]()o /andanAustra lia Council Fello wshi p

}i"01IItheNCII'JlediaArts Board2(}02/()3. Inl'tJr~1'200{j she toured hvr pctfunnancc illstallationShapes of Sleep10

1'(/riOiIS~(/Ill'ries(//1(/ venuesin the United Kingiknn.Site iscurrentlyArtisticDirect ortitUrb an Thea treProj ects.

Sydncv.

,\Iall uud/)eborall huvcprel'io/lsfycotlobon ned 011tileIwr /\ Sti llLife.a comnnnutyperformance al1d installationwork

s{'f intileII{'/"ifa~('.fIollrlIIillatOcnlunds.1I1.1"/1/(lI/ i(/ ill 1999 as wellas EcstasyofConuuunication.l/II/ultil//ediall/oze

at SulomancaArtCentresl.ongGotlvry in 1995,Both are interes tedinthe1'0lc'lIIial(~t'tlt('lin'performer illthe context ofthe visnatartsa"d utiliseI'c'If/H'"umn 'action.interview

0/1(1c/ot"w l/('ntm:rclements illallinstulta tivvcontext.Bot h

artistsciteil!/III {'l1CessnchasJolt" Cage, withhistusk-bawd

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Me Now.](}03 atSox.M,Berli n. Germany. SlideShow

l.nndhas al.\/) beenexhibited.ill200].at Room.U,SJ"dll£~\·.

ThePhysi csRoom.Chrlstchmvh. Ncll' £('o/al1dIIlId(Itthe

Bi-FiScreeningRoom, Nell' }l)/'k.tcnnncd by Rnisnnndax

.\ /li /asCI1H kll'i).ShelI"asawnrdcd'heAIlI I£' andGordon Sams/ag Intern ationalVi\'llCI lArts 5;cl1Olars hil'ill 20(}()(//1( / cO/llp leted (///,\ /1':·101 Col/lmbia University.N)'in2()(Jl.

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amiAllstralialIlId /ill"been a directorotElastk:Galleryand

Firs tIJI'l!HGallcl:\',110111 art ist-mil initiativesin.S:wllley,

Cnrrentlv Richuntso nlives ill,t le/bollrne. She is doingher

doctorate at,\to/lashand alsotouches svssionallv atthe

AustralianCuthollcUnlvvrsltv. Previonslv she fills taught

scssionall yotVNS//,Colleg eolTil/(,:11'1.\",Dowling College.

Sell'}cu'klIlIdfmmlOO-l-l007she heldal l/II-timeposition IIIthe CanhetraSchool

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