Punk Kween: A Studio A Tit Takeover, The Bearded Tit, December 2016 - January 2017

Photography: Harriet Body

Punk Kween: A Studio A Tit Takeover was an exhibition of Studio A supported artists at The Bearded Tit, a bar and exhibition/performance space in Redfern, Sydney. The exhibition included a window display showcasing work by Emily Crockford and the Props Collective, A collection of wearables and zines for sale as well as graffiti paste-ups in the outside alley way and a collection of designed beer-coasters by Greg Sindel, as well as a number of 2D artworks by Mathew Calandra and Sarah Martin and a video reel by the Bird Fox Monster collective.

 

Studio A / Soto Smith / Spunky Bruiser, Soto Smith Shop, July 2016

Studio A supported artists, Emily Crockford, Damian Showyin, Declan O'Connor, Rachelle Rodriguez and Jeanette Scanes collaborated with street-label design makers, Soto Smith and Spunky Bruiser by contributing new textile-based artworks that appeared on selected garments. The designers say: "The Studio A artist's artwork have been the anchor point and drive in Spunky Bruiser and Soto Smith label makers' design process - to honor the artists original vision in the artworks and develop the pieces into something completely new and wearable."

The collaboration resulted in one-of-a-kind, hand-made bomber jackets and limited edition garments featuring digitally printed designs on fabric inspired by Studio A artists' paintings.

Thom and Angelmouse, Tower Up for Wonder: Contemporary Art for Children, Hazelhurst Regional Gallery
July - August 2016

Photography: Silversalt

Wonder transformed Hazelhurst Regional Gallery into a playground with immersive installations and participatory artworks for children created by seven artists, including Studio A supported collaboration, Thom and Angelmouse.

Born from long conversations and fictional story-telling sessions, Thom and Angelmouse have constructed their personified city fantasy - where friends have become high-rising towers that talk to each other and rival for status of 'tallest tower on earth.' The installation, titled Tower Up, includes video projection, sculpture and large, 2D wall-based work.

Tower Up was created over a two-month residency at Hazelhurst were the duo also worked with members of local disability organisation, Sylvanvale.

Thom and Angelmouse is the collaborative practice of Studio A supported artist, Robert 'Thom' Smith and artist Harriet Body. 

Studio A: Flying High at SCA Galleries
March - April 2016

Photography: Ian Hobbs

Studio A: Flying High saw bird inspired artworks by selected Studio A artists, exhibited at the SCA Galleries as a part of Art Month. Curated by Studio A artistic director, Gabrielle Mordy and Principal artist, Emma Johnston, the exhibition includes both individual and collaborative artworks exhibited together in one large, immersive, avian-themed installation. Ultimately, Studio A: Flying High is a showcase of Studio A represented artists and is a tribute to their recent and continuing successes in the Australian art community. 

Peter Dudding, Pig Dog at Firstdraft, curated by Paul Williams
March 2016

Photography: Zan Wimberley

Peter is a painter, drawer & master mark maker and ceramicist who has been making art weekly for over a decade. During this time the artist has produced a vast body of work; work that has largely never been exhibited.

Recently, Peter joined the Studio A collective, a supported studio providing professional development to artists with intellectual disability. Despite his proficiency with the style, Peter had never before worked with another abstract expressionist. So, through Studio A, Peter connected with established abstract artist Paul Williams. The intent was for Paul to ‘mentor’ Peter. However, it soon became apparent that rather than any teacher/student relationship, this was instead to be an equal exchange between two artists sharing ideas, jokes and the pure enjoyment of mark making.

Pig Dog offers an important opportunity for Peter’s work to be seen. The size of Peter’s portfolio is immense, almost overwhelming. Paul William’s curatorship provides audiences with an informed introduction to Peter’s work, a means of navigating this artist’s incredible oeuvre. Paul’s role further speaks of the specific assistance Peter requires. That is, Peter does not so much require mentorship in the production of artwork, rather he requires assistance in letting his work be seen and taken seriously be contemporary art audiences.