Domesticated opens Friday 28 November, 6-8pm

Domesticated opens Friday 28 November, 6-8pm and is open from Saturday 29 November to Sunday 14 December, Friday to Sunday from 11am to 5pm.

Domesticated is an exhibition curated by Lesley Giovanelli of work by Will Cooke, Adrian De Giorgio, Robyn Donoghue, Beata Geyer, Anne Graham, Bettina Hill, Sione Falemaka, Steven Fasan, Mim Fluhrer, Lesley Giovanelli, Pip Giovanelli, Francesca Mataraga, Sarah Newall, Elizabeth Pulie, Margaret Roberts, Nuha Saad, Andrew Simmons and Toni Warburton.

Domesticated is a playful and decorative furnishing of Articulate project space, including furniture and references to popular culture and the everyday. It aims to break with more traditional gallery viewing modes by creating a relaxed experience in the warehouse-like space of the Articulate project space building and blurring the line between the domestic realm, furniture showroom and museum.

Works such as rustic furniture, a converted washing machine and psychedelic wallpaper panels will transform Articulate into an artists' take on a living space, ignoring the boundaries of craft, design, decoration, art and architecture. Floor and wall works will form a backdrop to artists’ furniture/sculptures creating strange conversations between two-dimensional and three dimensional works where a wool cloud chair sits in front of a handmade wallpaper panel, African inspired wall hangings form the backdrop to an artists tableau and a Rietveld chair converses with hand-woven plastic mats and baskets.

 Adrian de Giorgio
Anne Bond
Beata Geyer
Francesca Mataraga
Elizabeth Pulie
Mim Fluhrer
Nuha Saad
Margaret Roberts

Lesley Giovanelli

This project is supported by funding from Leichhardt Council


cutendpaste opens Friday 31 October 6-8pm

Cutendpaste opens on Friday 31 October 6-8pm, and is open  11am - 5pm Friday - Sunday 1 - 16 November.

It is open other times by contacting the artists on 0433 307 680 or calling by to see if they are there working. 

Artists' talks will be held on Saturday 15 November 2-5pm, in conjunction with Emma Wise who is working on All My People at ArticulateUpstairs.

In cutendpaste, artist Kathryn Ryan asked Linden Braye, Dorit Goldman, Anna Jaaniste, Melissa Maree and Margaret Roberts to join her in developing process-related projects in Articulate project space on conjunction with the location and each other. Visitors are invited to talk with artists and see their projects change throughout the 3 weeks of the project. 

Follow progress on cutendpaste blog

Kathryn Ryan The flora and fauna of Snow White and Rose Red. Photo: Michael Myers


To me, this project isn't about making a work of process, but considering the idea that the way we make is as important as what we make. The way different artists operate—how much they forgive, what they chose to remember, how humane, or merciless, they are in their making matters. This is the case whether the shadow of their process reveals something masterful, something  pedestrian, or something that is just awful.

I cannot say where I fall, it seems to become more difficult finding that clean slate, making slips into rote memory, and that resistance begins to look a lot like characterisation. So it is important, no matter what it produces, to spend time in process, to reclaim that freedom, to forgive those beginnings without letting them all run wild to the end. 

Linden Braye Helpful Viewing Tools 2011

Dorit Goldman Artsider  (detail) 2014

Meatology (working title)

WhereDoiComeFrom.WhatMi.WhereMiGoingThere is something very empowering in the ability to say: idontknow while feeling like I have done nothing wrong. 

Looking into connecting my own dots through observing everything and everyone around. My research is a constant never ending process: itest

As myart is a very spatial case; property becomes a commodity. This is where relationships get tested: meateography gets mapped.

Meatology becomes theArt of everything: In the ancient classic Greek world, the biggest sin of them all, was cannibalism. Zeus all mighty, would rage when he saw people engaging in it. 

read more...


Melissa Maree cutendpaste 2014: makeagif

Thinking about Process Art:

Process combines the concept and feeling of the artist towards space. Arguably, this definition of process involves nearly all art practices today. However, I think process art differentiates from other practices, through the intentional and purposeful action to collaborate with space. Conventionally, the retinal approach to art creation instigated its own private language, that delved into the emotional innards of the artist, distancing dialogue with the actual space the artwork was presented. This action repressed the social/political exploration of space, promoting a romanticised notion of the artist as genius, that supported omnipotent perspective art -  closing the viewer into the beholder's grasp. Without the loss of the expressive, primal “touch” of the artist, process artists used materials that express a bodily character creating anti-illusionary work that acknowledged itself within its predetermined space. I feel retinal tendencies are still present today and close the connections between concept, expression and space that I feel is imperative to provoke thought.
As artist today I feel process art is an extension of the body positioned to critique places within space. I feel that process art can be a powerful tool to critique the power exerted over the body by societal/economic structures. My work reflects a desire for transparency, a need to see more deeply beyond image and illusions, values that I feel stem from process art. 

Margaret Roberts SNAP 2013
 I think of 'process' as a collaboration between thought and space. Thought occurs in someone's mind and it transforms into physical form when it is realised in actual space.  This happens in all art-making (and in life generally) in some form, but  'process art' is when an artist's thought is specifically designed to give agency as much to the contingencies of the  'rolling-out' process in actual space, as to that design. 

Anna Jaaniste Sandstone Heart Performance, Sydney Harbour 2011

being in the moment of connection
never achieving a perceived goal or perfection
everchanging / fluid
can be a bodily, physical process that needs to be carried out
constant interchange
being unattached to a particular outcome
giving up full control and trusting in nature’s own will

Anna Jaaniste is supported by a grant from the Ada Merz Benevolent Foundation



Project dates: 7th – 26th October
Closing event: Sunday 26th October 2-4pm
Project space opening hours: Friday, Saturday, Sunday 11am – 5pm
For access at other times between 7 and 26 October contact the artists on 0414 494 559

Each artist will be working in the project space on the following dates:
Jo Law 12th-16th Oct
Michele Elliot 7-11th Oct
Sue Healey 17th - 22nd Oct
Louise Curham 24-26th Oct

Slowing Down Time is an ongoing project that aims to open up a dialogic space for artists Jo Law, Michele Elliot, Louise Curham and Sue Healey to create works together. This is their third iteration of Slowing Down Time. It builds on the previous two, the first here at Articulate project space in April and the second at the Faculty of Creative Arts Gallery, University of Wollongong in August.

above  image: slowing down time 1

Their collaboration explores the premise of slowing down time in order to create a palpable zone where the experience of time is decelerated. Responding specifically to the site, the artists invite the audience to negotiate the dimensions of the space and experience minute details and interventions, to consider fragments and residues of memories and objects. The four artists share an attentiveness to the everyday, to materiality and gestures, to domestic scenes and traces of habitation.
Each artist takes the space for five days and has a day overlapping with the next artist. The layers of work evolve over the duration of the project as a new contribution is added each week. These responses culminate in a richly textured and layered work in the final week of the exhibition.

image left : slowing down time 2

The nature of this project pivots on a dialogic and accumulative practice. As a conclusion to the project, the artists will lead a discussion about the creative process of the work and invite the audience to participate in critical dialogue about the making process and whether they have succeeded in slowing down time.

image left: slowing down time 2



Anne Graham's Shifting Sands and Falling Trees opens Friday 19 September 6-8pm

Open 11am - 5pm Friday - Sunday, 20 September - October 5

In The Niigata Land and Water Festival, 2009 I presented the work Shinohara’s House.  This house had been moved to the village of Gokahama when the village in which it was situated, Kakuminhama, sank beneath the encroaching ocean. Kakuminaha was famous for singing sand, My bronze and glass columns sang when a mixture of glass beads and sand were poured through them. This work remained in Japan but I realised that a version of this musical piece would transfer to another context.

I now live on the Cox’s River and the riverbank provides an ever-changing environment, small beaches form and reform, the roots of the trees are rounded and curved by the flow of the river, occasionally a tree falls and this creates new sand banks. Here nothing is permanent and the sound of the water provides an ongoing flowing rhythm of continues movement. My intention is to create an installation that reverberates with this sense of an organic process of change, decay and regrowth.

Shifting Sands and Falling Trees will be accompanied by an exhibition in ArticulateUpstairs of new work by Hilarie Mais, Jessica Mais Wright and Eugenia Raskopoulos from williamwrightartists.com.au. More details to come. 

Water and Land

This project  is assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.



Sunday 14 September 3-5pm:
tea and cake closing with Sue and Helen.

Artists' talks Saturday 6 September:
3pm Sue Pedley & 4pm Helen Grace 

photos: William Seeto