Skip to content
Curtin University of Technology
John Curtin Gallery

Access Gallery - 2007

Shapes, Real and Imaginary

ArCade V

Seeking Insight...Unity?

Noongar Native Title: Noongar Works from the Curtin University of Technology Art Collection

Neither here nor there: prints by Milan Milojevic and Olga Sankey



Shapes, Real and Imaginary
Recent works by Robbie Dixon

A Guild On Show exhibition. On Show aims to promote the artistic and creative projects of Student Guild Members by providing financial assistance to exhibit in the Access Gallery at the John Curtin Gallery on the theme of Campus Cultural Life.

robbie dixon
Robbie Dixon, Untitled, 2007, screen print on plywood, 980mm x 1200mm

11 - 30 September 2007
ArCade V
Curated by Sue Gollifer

Sue Gollifer

Sue Gollifer, Untitled BX2, 2007, courtesy of the Artist

ArCade V is a group exhibition of digital mediated work from twenty invited and selected international digital artists. The artists come from a variety of backgrounds, and include independent, academic and research active artists. Their work shows a rich diversity of imagery, including scientific, generative, ecological and autobiographical. They have used a variety of sources and applications to create a selection of screen-based work and original 2D limited edition digital artists' prints.

This exhibition forms part of the Computers in Art and Design Conference (CADE' 07) being hosted by the Biennale of Electronic Arts Perth (BEAP).

A copy of the ArCade V online catalogue can be downloaded here

23 July – 12 August 2007
Seeking Insight… Unity?
new works by Tania Spencer

Tania Spencer

Tania Spencer, Unity: Mind, Body, Soul, 2007, galvanised wire, 2100 x 900 x 900mm, courtesy of the Artist

While the earliest origins of true knitting are still debated, the practice known as nalbinding is thought to have been introduced to the rest of Europe through the Arab trade routes. Also known as Egyptian Coptic or single needle knitting, it has been dated back to 3rd century. My work is a blend of this ancient process of nalbinding and more recent knitting techniques.

Situating knitted sculpture within the gallery and in the wider environment directs attention to often overlooked domestic crafts, thereby reinforcing the value that previous generations have placed on the practice of hand knitting. I choose to work in an area that questions the categorizing of art. My practice sits firmly at the juncture of domestic textiles and sculpture: it is ‘crafted art’. The works are multi-layered, exploring technique, rural and domestic heritage and thought-provoking social themes. Through the medium of knitting, I hope to encourage the viewer to consider the weaving together of diverse cultures and religions within our society.

back to top


22 June – 13 July 2007
Noongar Native Title: Noongar Works from the Curtin University of Technology Art Collection
National NAIDOC 2007 theme: 50 Years Looking Forward, Looking Blak

Curated by Chad Crieghton

Julie Dowling

Julie Dowling, Land Rights Annie, acrylic, red ochre and plastic on canvas, 2000, 450 x 350mm, Curtin University of Technology Art Collection, purchased 2000

On 19 September, 2006, in the case Bennell v State of Western Australia [2006] FCA 1243, Justice Murray Wilcox upheld a judgement recognising that Noongar people still hold a connection to the land, entitling them to a native title claim to lands surrounding and including the entire metropolitan area of Perth. Justice Wilcox’s decision on this case holds great importance to Native Title Law within Australia because this is the first time Indigenous native title has been recognised over an Australian Capital City. The importance of the judgement in this case has a huge impact on the implications of Native Title Law potentially paving the way for future claims over other Australian capital cities. For Indigenous people the implications of this case means more than money or land titles: it offers a sense of recognised identity, pride and the acknowledgment of not only original ownership of this country but also past wrongs.

This exhibition will demonstrate Noongar peoples connection to the land exemplified in the work of artists such as Athol Farmer (Moordi Pa), Philip Hanson, Graham (Swag) Taylor and Lance Chadd (Tjyllyungoo) who have been influenced by the Carollup School traditions of painting. Artists such as Julie Dowling and Christopher Pease depict the fight Noongar people have had to endure for Land Rights and equal treatment within their own country. Laurel Nannup uses her artwork to follow in the tradition of story telling whilst also uncovering the dispossession of her family.

back to top


20 April - 1 June 2007
Neither here nor there: prints by Milan Milojevic and Olga Sankey

Both artists have a background in printmaking, use traditional and digital printmaking techniques and are first generation Australians. Milojevic’s images are digitally constructed from fragments of historical engravings documenting the natural world and explore issues of cultural identity. Sankey is interested in the relationship between image and text and the subjective nature of the reading of both words and images, with the framing glass becoming an integral part of the artwork.

Olga Sankey

Olga Sankey, Double Take #5, inkjet print and etched glass, 2006, two parts each 250 x 500 mm, image courtesy of the Artist

Milan Milojevic

Milan Milojevic, Index of Possibilities, etching, digital print, 2005, 595 x 414 mm, image courtesy of the Artist

back to top

12 - 30 March 2007

Jurek Wybraniec

Jurek Wybraniec, Counter onslaught (images from the Western horizon), detail, acrylic and oil on masonite, 1991, 300 x 300mm, Curtin University of Technology Art Collection


Lucas Bowers

Lucas  Bowers, Tokyo 2040 reformatted, inkjet print, 2007, courtesy of the Artist

Featuring works from the Curtin University of Technology Art Collection, this exhibition investigates various themes and topics to determine what benefits accrue from the adoption of the square format in making artworks, what meanings can be mined from it’s associations and history, and how the design constraints and possibilities it brings can enhance certain readings.

A copy of the SQUARE exhibition catalogue can be downloaded here (246kb PDF file).

back to top







Back to Top