End Credits for a Misaligned World
I'm excited to share that from June 28th to September 20th I will be undertaking a residency project, End Credits for a Misaligned World, at correspondences in Bulleke-bek / Brunswick. If you can make it, please join me at the opening event on July 4th. I'll be exhibiting a series I've been working on for several years, titled To hear these options again, press 9. As the residency progresses I will be making and showing new work, so please try and swing by, I'd love to see you there! To learn more about this evolving project, please see here. Many thanks to Emma Thomson, producer extraordinaire from correspondences, for inviting me to take part in this special residency program.
Opening night: 4th July, 6.30pm - 8.30 pm (attendance free, places limited, please RSVP here)
Venue: correspondences, 39 Sydney Rd, Bulleke-bek / Brunswick, Victoria
Residency dates: June 28th - September 20th, 2025
Gallery opening times: Wednesday to Saturday, 11am - 5pm. Monday & Tuesday - by appointment only.
If you plan to visit between 1pm - 2pm (the lunch hour), please email the gallery in advance to ensure it is open: info@correspondences.
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| To hear these option again, press 9 |
There are some community events programmed during my residency too, including Studio drop in / self-guided community making: 12th July, 16th August, 6th September, 2pm - 4pm, join the guest list here.
DECEMBER 2024
Naturally Inclined
Saturday 7th December
Savina HOPKINS, Elyss McCLEARY, Emily SIMEK, Mateja SIMENKO
Four artists showing work connected to gardens and the experience of nature.
Curated by Savina Hopkins.
Presented by Retractable Art Space.
L > R: work by Emily Simek, Mateja Simenko, Savina Hopkins, Elyss McCleary
Savina HOPKINS
TITLE: Nature > strip > garden > bed
MEDIUM: photographic print on cotton fabric, bias binding, thread
I have photographed abandoned mattresses whose fabric linings are adorned with botanical motifs. These unwanted beds were found slumped on suburban nature-strips, awaiting hard rubbish collection, bound for landfill. The textile designs of the mattresses feature flowers, an emblem that can evoke positive associations of gardens as sites of pleasure, relaxation and sensory experiences. The visual noise of the repeated motifs also serves to disguise stains and wear and tear - the corporeal messiness of human bodies imprinting and merging with stylised representations of nature. I’ve printed these images of discarded bed textiles onto cotton fabric to reconnect them to the varied experiences and materiality of our beds and bodies. Back into the ground it all goes …
Savina Hopkins is a visual artist based in Naarm/Melbourne. Through her artwork she explores the interface between damage and preservation and the dynamics of interpersonal relationships. She enjoys working in a space where humour and history rub shoulders, where nostalgia and discomfort mingle. Her art encompasses collage, assemblage, painting and photography. Across these fields, she is attracted to working with salvaged materials and objects imbued with specific histories and uses. Contemplation and manipulation of these materials, and the ideas and stories that are embedded in them, drive her creative practice.
Instagram: @savinahopkins
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Elyss McCLEARY
TITLE: Light traces on tiles
MEDIUM: Mixed medium (mirror tiles, found steel reinforced mesh, sharpie markers, gouache, paper, copic markers)
Light traces shapes over around and through the plants and trees. There are some built structures with fading paint, surfaces eroding with the rain and sun. The sky is bright framed by both Felicity and Vera‘s garden I overlook in the flat I rent. Across the creek I often observe the leaves' everchanging compositions butted up against the concrete path. With sharpie pens, collaged paper, gouache, shiny mirror tiles attached to a found hard rubbish structure this work explores surfaces changing with the elements, layered shapes tresselled up a lattice for tomato vines. Standing in front of the tiles a face appears like when it brashly reflects in a car or shop window suddenly. I just laughed at myself - eek is that my face now - sunglasses please!! A step back or to the side reflects the sky again or what surface the little mirror tile is next to. Little shapes and colours.
Elyss McCleary is a visual artist based in Naarm/Melbourne. Her practice explores forms found in layers of spaces, shapes and colour that shift between representation and abstraction. Working predominantly in painting and drawing, her compositional placement rhythms are both a reflection and response to environments. She creates portals of imagined spaces mixed with cinematic backgrounds of the everyday that are fused with memory and observation, interrupted by ‘cameo’ appearances of significant urban structures. The works additionally comment on how images are repeatedly orchestrated in media. Elyss is represented by Nicholas Thompson Gallery.
Instagram: @elyss_mccleary
www.nicholasthompsongallery.com.au/artists/elyss-mccleary/
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Emily SIMEK
TITLE: getting side-tracked at the working bee (tips on a quilt in progress)
MEDIUM: advice, Indigo grown in the Patch-Work garden on unceded Wurundjeri land Summer 2023, upcycled silk and cotton.
I like gardeners and sewists because of their willingness to tinker. I can make a quilt without going to quilting school. I can tend a garden without horticulture training. At the working bee, everyone has something to share and learn.
p.s if you have any ideas, I'm making a summer quilt.
Emily Simek is an artist with a practice in digital art, textiles, installation, writing and gardening. Often working collaboratively, she is interested in relational practices within food webs and local networks of exchange.
Emily is of Czech and Dutch ancestry and lives on unceded Wurundjeri Country. Her art practice cross-pollinates with her work as a paediatric physiotherapist and home gardener. She is a contributor to Patch-Work, a collaborative project at Joe’s Market Garden, and provides technical support at WORLDWIDEWORMS.NET.
Instagram: @emily_simek
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Mateja SIMENKO
TITLE: Visceromotor
MEDIUM: oil on board and mixed media
In this work I reflect on the resonance between the tree structures my gaze is drawn to, and my internal viscera craving this stimuli. ‘Retracting’ an occasional upward glimpse from the daily house-keeping chores, I contemplate the communication between the networks outside and inside me. Looking up at a spread of a tree, I sense the branches of my autonomic nervous system, my ‘visceromotor’, resonating with the network of the branches above me. Channelled by my sight, the visual stimuli delight in the recognition of kin, imprinting themselves onto my bodily networks (para)sympathetically. Spreading the sensations onto the paintings, I perpetuate this vibrant conversation in rhythms sustaining vital connections. Fleetingly recording these intermezzos in my daily tasks, the resulting paintings are viscous traces of internal processes, open to further exchanges.
Mateja Simenko is a visual artist residing and looking up at trees in Naarm.
Instagram: @matejasimenko
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Retractable Art Space sits on the unceded land of the Wurundjeri people of the Kulin Nations. We pay our respects to their Elders, past and present, and to all First Nations people.
MARCH 2024
Retractable Art Space is an exhibition project initiative that uses a retractable clothesline spanning the undercover carport and open-air courtyard in Naarm / Melbourne. People are invited to create work that can be hung, displayed, or otherwise interface with the retractable unit and its domestic environment.
Opening
Saturday 23rd March, 2 - 8 pm
Each participant has been given a piece of calico to create work in response to the theme 'Opening'.
Curated by Savina Hopkins.
Presented by Retractable Art Space.
Sue BAKER, Wendy BRAND, Zena CUMPSTON, Anna DUNNILL, Suzanne FEGAN, Karen GRAY, Savina HOPKINS, Susan LONG, Angelo MADRID, Kim MUNRO, Jenelle O'CALLAGHAN, Lin TOBIAS, Jessye WDOWIN-MCGREGOR
L > R: work by Anna Dunnill, Kim Munro, Jenelle O'Callaghan, Zena Cumpston, Sue Baker
Retractable Art Space sits on the unceded land of the Wurundjeri people of the Kulin Nations. We pay our respects to their Elders, past and present, and to all First Nations people.
FEBRUARY 2024
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| i-Spy (wooden assemblage) - Savina Hopkins |
i-Spy
Bargoonga Nganjin (North Fitzroy Library), 182 St Georges Rd, North Fitzroy, Vic.
i-Spy Exhibition dates : 14th February - 5th May, 2024
Opening : Wednesday 21st February, 6 - 7.30pm
Opening hours : Mon, Tues, Fri, 10am - 6pm || Wed - Thurs, 10am - 8pm || Sat, 10am - 4pm || Sun, 2pm - 5pm
This exhibition of wall-hung assemblages is created entirely from children's second-hand building blocks and was generated through consideration of the material properties and historic uses of these toys. As objects, the weathered wooden blocks are a signifier and relic of childhood and creative play. Given their widespread accessibility and use, these simple, tactile toys possess a familiarity that creates an entry point through which to experience the work.
The creative urge to play is widely encouraged in childhood for its contribution to cognitive, physical, social and emotional development, however it tends to be far less supported in adult contexts. The works in i-Spy were created through a process of experimentation and play; spatial, textural and colour relationships between the pre-painted blocks emerged through long sessions of gathering, sorting, arranging and rearranging. Blocks were carefully selected for their colour, shape and evidence of previous use; teeth marks, dents, surface wear and paint loss.
Through salvaging the unwanted toys and repurposing them as a raw art material, the history of the object is foregrounded and its association with play harnessed, elevating the value of creative play as a serious pursuit.
Exhibiting this series in the gallery space at Bargoonga Nganjin, directly adjoining the Children's Library and play area, invites reflection on the connections between learning, development and creativity, unlimited by one's age.
Photo by Andrew Curtis
Photo by Andrew Curtis
MARCH 2022 - SEPTEMBER 2022
Screen / Time
Savina Hopkins' new photographic work, Screen / Time, is currently being exhibited as part of the City of Yarra's Light Box programme at Carlton Library. The public art light boxes are located on the exterior wall of the library on Newry St, near the corner of Rathdow ne St. As such they can be viewed anytime, but they are best viewed when it's dark, and the illumination hits its peak. This outdoor exhibition is free and Covid safe.
Carlton Library, 667 Rathdowne St, Carlton North, Vic.
Exhibition dates : 22 March 2022 - 20 September 2022
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| Votive No. 3 (digital photograph print) - Savina Hopkins |
In today’s Covid-conscious world, plexiglass is used as a barrier to infection in the form of ‘sneeze screens’ in many retail and service settings. It is considered a stable and impenetrable material. In ‘Screen / Time’, plexiglass acts as a deteriorating membrane, a clouded lens. Hopkins’ photographs capture the interiors of cemetery votive boxes taken through their scratched plexiglass screens. The screens, installed to protect and provide access to the contents of the votive boxes, function as a threshold or transitional space between the living and the dead, the visible and the indistinct. Over time the screens have degraded due to a combination of UV light damage, heat, pollution, neglect and general weathering. The effect of these forces is cumulative and the once clear plexiglass is rendered semi-opaque.
Shot through hazy screens, partially obscured objects appear - candles, oil burners, a cleaning rag, oil housed in drink bottles and mustard jars. Such personal offerings and utensils are used in ceremonial, ritualistic and prosaic ways. The mourning and contemplation that occurs at these sites is embodied by these objects. These incidental arrangements are reminiscent of still life oil paintings, as the damaged screen’s surface serves to flatten the picture plane. These meditative scenes of liminal spaces highlight the inevitable instability of materials and our bodies.
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| Dusk view of Screen / Time, light box installation, Carlton Library |
OCTOBER 2021
Homely
Mitchell ASQUITH, Katrina CASTOVITA, James GRANT, Polly HOLLYOAK, Savina HOPKINS, Lucy HOTHCHINS, Isobel KNOWLES & Van SOWERWINE, Andrea SINCLAIR, Zoe WOEBKEN
Mitchell ASQUITH, Katrina CASTOVITA, James GRANT, Polly HOLLYOAK, Savina HOPKINS, Lucy HOTHCHINS, Isobel KNOWLES & Van SOWERWINE, Andrea SINCLAIR, Zoe WOEBKEN
Co-curated by Kim Wall and Tyler Meredith
Satellite Projects - online exhibition
Exhibition dates : 22 October - 14 November
L>R: Sisters, Best Behaviour (archival giclee prints) - Savina Hopkins
The Waiting Room
Aly Aitken | Patrick Francis | Savina Hopkins | Steve May | Jim Pavlidis
Aly Aitken | Patrick Francis | Savina Hopkins | Steve May | Jim Pavlidis
Satellite Projects - online exhibition. View catalogue here.
DECEMBER 2015
Rubicon ARI are having a Mad-Minute fundraiser and I've donated the above artwork to the cause.
AUGUST 2015
Home@735 - 735 Bourke Street, Redfern, N.S.W
Exhibition dates: 19 Aug - 13 Sep
Gallery hours: Thurs 2 – 5pm, Sat & Sun 2 – 5pm
JUNE 2015
Laura Skerlj is a Melbourne-based artist and writer. www.lauraskerlj.com
APRIL 2015
This year I've been busy in the hospital studio, working with my band-aid postcards portraits. Here's a sneak preview of the kind of work I'll be exhibiting in Melbourne in mid June....
My new series of band-aid portraits got a plug on The Art Life, New Work Friday. Jolly good!
NOV 2014
My photographs of cemetery votive boxes, seen through their scratched perspex doors, published in the Melbourne journal Materiality #4: Surface.
Close Quarters 
I am exhibiting a new series of works in a group show at Red Gallery as part of Midsumma.
Yarra Arts - Energy from Stillness
ARTISTS: Matto Lucas, Emma Buckland, Alexander Edwards, Tama Favell, Hillary Green, Jacqueline Gwynne, Savina Hopkins, Cath Johnston, Sol Mann, Renuka Rajiv and Mel Simpson.
Opening: 6 - 8 pm, Wednesday January 16th
Red Gallery, 157 St Georges Rd, Fitzroy, Vic.
Exhibition runs: 16th Jan - 2nd Feb 2013
Gallery hours: Wed - Sat, 11am - 5pm
I have an artwork in the
Venue: Chapman and Bailey - 350 Johnston St, Abbotsford, Vic.
Judges: Sally Smart and Rosslynd Piggot
Exhibition runs: 12 Dec 2012 - 26 Jan 2013
My work has been shortlisted for the PB Towage People's Choice Award, showing at the Atrium Gallery, World Trade Centre, Docklands. Opening: Thurs 8th November, 6- 8 pm (enter via Siddeley St).
A recent editorial illustration for 'The Place for Judgement in Postmodern Clinical Practice'
Good news! I've been selected as a finalist in the Mission to Seafarers ANL ART Prize. I have used discarded paper fragments from Australian Naval Department files of the 1930's and 40's to construct this collage.
Exhibition: 5th - 31st October, Mission to Seafarers Victoria, 717 Flinders St, Docklands, Vic.
Hours: 12 - 7pm, Wed - Sun
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This image was commissioned for the article 'The Four Faces of Depression', to be published in the August issue of Psychotherapy in Australia journal.
I have a photographic piece in a show, 'Visions of Self and Others' at the Joyce McGrath Gallery at State Library Victoria.
Opening: 3.30pm, Thursday 29th March, State Library Victoria
The exhibition will be officially opened by Sue Hamilton, Acting CEO and State Librarian.
FEBRUARY 2012
One of my latest editorial illustrations for the February issue of 'Psychotherapy in Australia'. The article by Michael Guy Thompson is "'A Road Less Travelled': The dark side of R.D.Laing's conception of authenticity".
Venue: Stockroom Gallery - 98 Piper St, Kyneton, Vic.
NOVEMBER 2011
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Exhibition dates : 8 October - 8 December
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| Gretchen (collage)- Savina Hopkins |
DECEMBER 2019
Flesh
Group Show - Opening Thursday 12th Dec, 6 - 8 pm
No Vacancy - 34 - 40 Jane Bell Lane, Lv 3 QV Building, Melbourne, Vic.
Exhibition dates : 10 - 15 Dec
Opening hours : Tues - Fri 12 - 6pm, Sat & Sun, 12 - 5pm
DECEMBER 2019
Scavengers
Opening Friday 6th December, 6 - 8pm
Alternating Current - 248 High St, Windsor, Vic.
Exhibition Dates : 6 - 21 December
Opening hours : Thurs & Fri 11 - 6pm, Sat & Sun 12 - 5pm
Curated by Polly Hollyoak, Andrea Hughes and Olga Tsara
Artists : Eddie Botha, Annette Chang, Maz Dixon, Polly Hollyoak, Savina Hopkins, Andrea Hughes, Empire of Stuff, Leah Mariani, Andrea Sinclair, Liz Sontag (Tinky), Kelly Sullivan, Olga Tsara.
NOVEMBER 2019
Friends & Family
Group Show - Opening Friday 15 November, 6 - 8pm
Flesh
Group Show - Opening Thursday 12th Dec, 6 - 8 pm
No Vacancy - 34 - 40 Jane Bell Lane, Lv 3 QV Building, Melbourne, Vic.
Exhibition dates : 10 - 15 Dec
Opening hours : Tues - Fri 12 - 6pm, Sat & Sun, 12 - 5pm
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| Grace (collage) - Savina Hopkins |
Scavengers
Opening Friday 6th December, 6 - 8pm
Alternating Current - 248 High St, Windsor, Vic.
Exhibition Dates : 6 - 21 December
Opening hours : Thurs & Fri 11 - 6pm, Sat & Sun 12 - 5pm
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| Blue Scouts (collage) - Savina Hopkins |
Artists : Eddie Botha, Annette Chang, Maz Dixon, Polly Hollyoak, Savina Hopkins, Andrea Hughes, Empire of Stuff, Leah Mariani, Andrea Sinclair, Liz Sontag (Tinky), Kelly Sullivan, Olga Tsara.
NOVEMBER 2019
Friends & Family
Group Show - Opening Friday 15 November, 6 - 8pm
Daine Singer - 90 Moor St, Fitzroy, Vic.
Exhibition Dates : 14 November - 14 December
Opening hours : Wed - Fri 12pm - 5pm, Sat 12pm - 4pm
Opening hours : Wed - Fri 12pm - 5pm, Sat 12pm - 4pm
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| There's No Exit to This Desert (collage) - Savina Hopkins |
OCTOBER 2019
Cut
Paul Compton | Savina Hopkins | Kim Wall
Exhibition Opening : Wednesday 16th October, 6 - 8pm
Red Gallery - 157 St Georges Rd, Fitzroy North, Vic.
Exhibition Dates : 16 October - 3 November
Opening hours : Thurs - Fri 12pm - 6pm, Sat - Sun 12pm - 5pm
DECEMBER 2018
Collins Place Summer Salon
Exhibition Launch & Prize Announcements : Friday 7th December, 6 - 8pm
Collins Place Gallery, 45 Collins St, Melbourne, Vic.
Exhibition Dates : 1 December - 31 January (closed for Christmas from 21 Dec - 7 Jan)
AUGUST 2018
Paper
Opening : Friday 24th August
Neon Parlour - 791 High St, Thornbury, Vic.
Exhibition dates : 22 August - 2 September
Opening hours : Wed - Fri 11am - 6pm, Sat - Sun 11am - 5pm
Artists: Luisa Cavalieri, Simon Deere, Irene Ferguson, Savina Hopkins, Seb Ingram, Shannon Mary, Ted Mckinlay, Zennie McLoughlin, Abbey Rich, James Riches, Alexandra Thornton, Lin Tobias, Dylan Vella, Travis Vella, Matthew Watts
Nillumbik Prize 2017
Opening 1st June 6.30 - 8.30 pm
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Barn Gallery, Montsalvat, 7 Hillcrest Ave, Eltham, Vic.
Exhibition dates: 1 June - 30 July
Finalists: Penelope Aitken, Liliana Barbieri, Kellie Joy Barnes, Peter Ben, Janette Bird, Matt Blackwood, Maria Colaidis, Samuel Condon, Stephanie Davies, Magdalena Dmowska, Ella Dunn, Helen Edwards, Annita Furey, Silvi Glattauer, Claudia Gleave, Lloyd Godman, Ev Hales, Siri Hayes, Savina Hopkins, Paul Kalemba, Denise Keele-Bedford, Sean Kennedy, Tracey Lamb, Jo Lane, Elyss McCleary, Anna McDermott, Louise Meuwissen, Gabriella Moxey, Terrianne Murray, Gay O’Connor, Irene Pagram, Matthew Quick, Gwen Scott, Jodi Stewart, Linda Swinfield, Camilla Tadich, Ronak Taher, Erin Tappe, Liz Walker, Michelle Williams
JANUARY 2017
Coby Baker | Wendy Busch | Magdalena Dmowska | Matt Hill | Sylvia Hollis | Savina Hopkins | Tegan Iversen | Amanda Krantz | Jo Lane | Cassandra Martin | Sharyn Masson | Anna McDermott | Louise Meuwissen | Susie Monte | Jasmine Moston | Carolyn O’Neill | Amber Smith | Liam Snootle | Jodi Wiley | Mel Jane Wilson
Opening: Thursday 12th January, 6.30 - 8.30pm
Cut
Paul Compton | Savina Hopkins | Kim Wall
Exhibition Opening : Wednesday 16th October, 6 - 8pm
Red Gallery - 157 St Georges Rd, Fitzroy North, Vic.
Exhibition Dates : 16 October - 3 November
Opening hours : Thurs - Fri 12pm - 6pm, Sat - Sun 12pm - 5pm
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| Martha (collage, detail) - Savina Hopkins |
DECEMBER 2018
Collins Place Summer Salon
Exhibition Launch & Prize Announcements : Friday 7th December, 6 - 8pm
Collins Place Gallery, 45 Collins St, Melbourne, Vic.
Exhibition Dates : 1 December - 31 January (closed for Christmas from 21 Dec - 7 Jan)
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| One Of Us Is Only (collage) - Savina Hopkins |
AUGUST 2018
Paper
Opening : Friday 24th August
Neon Parlour - 791 High St, Thornbury, Vic.
Exhibition dates : 22 August - 2 September
Opening hours : Wed - Fri 11am - 6pm, Sat - Sun 11am - 5pm
Artists: Luisa Cavalieri, Simon Deere, Irene Ferguson, Savina Hopkins, Seb Ingram, Shannon Mary, Ted Mckinlay, Zennie McLoughlin, Abbey Rich, James Riches, Alexandra Thornton, Lin Tobias, Dylan Vella, Travis Vella, Matthew Watts
(True Verdict (collage) - Savina Hopkins
JUNE 2017Nillumbik Prize 2017
Opening 1st June 6.30 - 8.30 pm
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Barn Gallery, Montsalvat, 7 Hillcrest Ave, Eltham, Vic.
Exhibition dates: 1 June - 30 July
Finalists: Penelope Aitken, Liliana Barbieri, Kellie Joy Barnes, Peter Ben, Janette Bird, Matt Blackwood, Maria Colaidis, Samuel Condon, Stephanie Davies, Magdalena Dmowska, Ella Dunn, Helen Edwards, Annita Furey, Silvi Glattauer, Claudia Gleave, Lloyd Godman, Ev Hales, Siri Hayes, Savina Hopkins, Paul Kalemba, Denise Keele-Bedford, Sean Kennedy, Tracey Lamb, Jo Lane, Elyss McCleary, Anna McDermott, Louise Meuwissen, Gabriella Moxey, Terrianne Murray, Gay O’Connor, Irene Pagram, Matthew Quick, Gwen Scott, Jodi Stewart, Linda Swinfield, Camilla Tadich, Ronak Taher, Erin Tappe, Liz Walker, Michelle Williams
JANUARY 2017
L-R: Ester, Grace (collages) - Savina Hopkins
ConversationCoby Baker | Wendy Busch | Magdalena Dmowska | Matt Hill | Sylvia Hollis | Savina Hopkins | Tegan Iversen | Amanda Krantz | Jo Lane | Cassandra Martin | Sharyn Masson | Anna McDermott | Louise Meuwissen | Susie Monte | Jasmine Moston | Carolyn O’Neill | Amber Smith | Liam Snootle | Jodi Wiley | Mel Jane Wilson
Opening: Thursday 12th January, 6.30 - 8.30pm
Montsalvat, Barn Gallery, 7 Hillcrest Ave, Eltham, Vic.
Exhibition dates: 12 January - 5 February
Exhibition hours: 7 days, 9am - 5pm
Curated by Petra Nicel
SEPTEMBER 2016
CUT
Simon Attwooll | Paul Compton | Rebecca Delange | Sue Durham | Elizabeth Gower | Stephanie Hicks | Savina Hopkins | Iolanthe Iezzi | Rachel O'Connor | Sally Smart | Heidi Yardley | Jordon Wood
Opening: Wednesday 14th September
Exhibition dates: 12 January - 5 February
Exhibition hours: 7 days, 9am - 5pm
Curated by Petra Nicel
SEPTEMBER 2016
CUT
Simon Attwooll | Paul Compton | Rebecca Delange | Sue Durham | Elizabeth Gower | Stephanie Hicks | Savina Hopkins | Iolanthe Iezzi | Rachel O'Connor | Sally Smart | Heidi Yardley | Jordon Wood
Opening: Wednesday 14th September
The Dirty Dozen, Campbell Arcade underpass, Melbourne, Vic.
Exhibition dates: 13 September - 7 November
Exhibition hours: Mon - Fri 10.30am - 6.30pm, Sat 10.30am - 5pm (closed Sunday)
Curated by Rachel O'Connor & Jordon Wood
AUGUST 2016
The new issue of Materiality with the theme FAKE is out now. I have some photographs in it, like the one above. This wonderful journal has gone digital and is now free. It can be viewed (and also printed) in 9 easy to download sections. Get yours here!
JUNE 2016
Cover art and illustrations I created for issue #223 of Overland, the excellent Australian literary journal.
MAY 2016
Exhibition dates: 13 September - 7 November
Exhibition hours: Mon - Fri 10.30am - 6.30pm, Sat 10.30am - 5pm (closed Sunday)
Curated by Rachel O'Connor & Jordon Wood
AUGUST 2016
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Fake stump, real tree (photograph)- Savina Hopkins, 2015
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JUNE 2016
MAY 2016
Wild Cards & Fugitives
Curated by Dominique Dunstan - a group exhibition using defunct library catalogue cards.
To be opened by Kate Torney, CEO State Library Victoria
Opening: Thursday 15th May, 3:30 - 4:30
Venue: Joyce McGrath Gallery, State Library Victoria
JANUARY 2016
Curated by Dominique Dunstan - a group exhibition using defunct library catalogue cards.
To be opened by Kate Torney, CEO State Library Victoria
Opening: Thursday 15th May, 3:30 - 4:30
Venue: Joyce McGrath Gallery, State Library Victoria
Current Location - Savina Hopkins, 2016
JANUARY 2016
12 Inches
A group exhibition of album covers for records real or imagined.
Curated by Kate Kingsmill.
Opening: Monday 11 Jan (ends 16 Jan)
The Snug - 447 High St, Northcote, Vic.
Headway - Savina Hopkins
Contact - Savina Hopkins
DECEMBER 2015
Opening: Wednesday 22th December, 6 - 9pm
Rubicon ARI, Level 1/309 Queensberry St, North Melbourne, Vic.
AUGUST 2015
Home@735 Gallery presents
19.08.15
Somchai Charoen | Sam Cutcher | Genevieve Felix Reynolds | Savina Hopkins
Opening: Wednesday 19th August, 6 - 8pm
Opening: Wednesday 19th August, 6 - 8pm
Exhibition dates: 19 Aug - 13 Sep
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Countess - S Hopkins, 2015
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Persona
Obscura
Opening: Wednesday 17th June, 6 - 8pm
Seventh Gallery - 155 Gertrude St, Fitzroy, Vic.
Exhibition dates: 18th June - 4th July
Gallery hours: Tues - Sat, 12 - 6 pm
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| L-R: Eileen & Maude, Dear Aimee (Miss Constance Worth), Clementine |
Persona
Obscura: Disrupted Portraits
(Catalogue essay
by Laura Skerlj)
Savina Hopkins
currently works from a studio in a decommissioned hospital wing in Melbourne.
The site is quiet, with circle-shaped gardens of roses, lavender and balmy
herbs for meditation and mourning. Eggshell blue corridors house congregations
of discarded patient-recliners; medical fixtures still protrude from the walls.
This unusual studio seems the perfect space for Hopkins to have realised her
current body of work: a series of delicately wrought collages, where the faces
of antique postcard portraits are removed using a medical scalpel before being
replaced with flanks of skin-coloured Band-Aid.
Two years ago, Hopkins began
using this process to make portraits of her family members. The first in her
Band-Aid series was a study of the artist’s father who was unwell in hospital
at the time—the intense focus required to make his image encouraged her to
reflect deeply upon their connection, what it meant to be human (and therefore,
damaged), and the transpiring discomfort sometimes felt living in one’s own
skin. This and other studies in the series, presented a unique, and sometimes
fraught, connection with the “sitter”: by using the faces of those she knew so
well, the nuances of their intimate relationships became implicit in the matrix
of her process—looking, considering, cutting, masking, suffocating, healing.
In
contrast, the people featured in Hopkins’ current exhibition, Persona
Obscura, are unknown to
the artist. Her primary material—silver gelatin postcard portraits that date
back to 1910-1930—were sourced online, gifted to the artist by friends and
colleagues, or scrounged for at second-hand markets. On the verso of some
portraits are brief letters that contain meagre, if any, autobiographical
clues. Although this new distance between artist and subject might seem
limiting, on the contrary, it opens up the formal potentials and conflicting
attributes present within Hopkins’ Band-Aid works. While there is something
destructive about cutting skin, particularly a face, from an image, Hopkins’
practical sensitivity, in which every subject is precisely tended, reflects her
desire to recreate them as best she can using this unromantic and faux-somatic
material.
Aesthetically, Hopkins’ work has a particular vintage. Like the walls
in her hospice studio, old-world hues butt against the tiny plastic panels that
now compose the subjects’ faces. Moody details within the original
photographs—frosting, jewels, couture and flowers—have been carefully included
through delicate cutting, or highlighted using paint. Damaged surface areas of
the photograph have also been retouched. Their scale is considerably smaller
than the previous family portraits, the Band-Aid panels applied with meticulous
care. Even in their presentation, other papers and fabrics from this era,
collaged around the photographs, expand their nostalgic quality. Having
completed postgraduate studies in scientific illustration, as well as
maintaining parallel jobs in museums, archives and library environments, there
is an undoubtable “collector’s instinct” present across Hopkins’ oeuvre.
However, there seems less of a desire to present artefacts than to use
sophisticated learnt techniques to psychologise old images via new processes.
Just
as Victorian post-mortem death portraits were orchestrated to present the
deceased as still living, Hopkins’ work conjures a similar psychological
disruption. As the artist explains, there is a definite disquiet associated
with suffocation, loss and injury that occurs when the flesh-like material is
applied all over the subject’s face: “Using Band-Aids allows me to explore a
complex psychological terrain, as there is a particular emotional charge in
this unconventional material that I find thoroughly engaging.” As trauma, by
nature, requires continual repression to exist, this insistence upon covering,
or exchanging, the truth-telling face with something face-like is in keeping: the bandaged images
become traumatic, almost literally, as the word “trauma” is identified in Greek
as a psychic “injury”.
From this, there is a poetic disjuncture within the
works’ formal considerations that recalls French literary theorist Roland
Barthes’ distinction between a photograph’s “studium” and “punctum”. In his
iconic, Camera Lucida
(1980), Barthes articulated the former as that which occurs in the image: the
photographer’s intentions, the general gist of the picture. These attributes
are the elements—faces; gestures; settings—that compose the work. The latter
“punctum” is less agreeable. It is defined as an aspect within a photograph
that disturbs: “[a] sting, speck, cut, little hole… a cast of the dice… an
accident which pricks me (but also bruises me, is poignant to me).” Although
the disruption within Hopkins’ work is not oblique, there remains a slippery
shift between the outer photographic scene and the refined yet plastic inner
collage that conjures this allusive, and recalcitrant, quality.
Darkness aside,
there is also humour in a portrait made using a material that mends playground
wounds and minor kitchen casualties.
When expecting a face yet finding a chimera, the viewer is jostled
between their expectations and reality. This method of working suffused much
Surrealist and Dadaist collage of the 20th century, as artists
displaced the ordinary to create abnormal visions. However, in this
contemporary work, the angular sections of Band-Aid take on a pixel-like
quality against the original image’s hazy romance. A parallax to the present
infinitude of “selfies”, sitters in Hopkins’ original source-images patiently
held their position for a single portrait. As one avatar replaces another,
Hopkins’ masked subjects chuckle at our enduring vanity.
In turn, this
sympathetic process—in which antique portraits have been collected,
contemplated, and quite literally de-faced—is sentimental, traumatic and
humorous. The void once occupied by the sitter’s most essential feature is
rearticulated using various carefully selected Band-Aids. The result is an
abstraction of character that is as unsettling as it is well-formed; just as a
painter might apply a specific tone, glaze or brush stroke to fully-realise the
essential features of their sitter, Hopkins’ sensitivity toward her
materials—both Band-Aid and photograph—reveals a perplexing transition between
the real and the uncanny.
Laura Skerlj is a Melbourne-based artist and writer. www.lauraskerlj.com
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| Opening night at Seventh Gallery |
This year I've been busy in the hospital studio, working with my band-aid postcards portraits. Here's a sneak preview of the kind of work I'll be exhibiting in Melbourne in mid June....
Raffaellina (detail), 2015
DEC 2014My new series of band-aid portraits got a plug on The Art Life, New Work Friday. Jolly good!
NOV 2014
OCT 2014
Recent work from my hospital room studio at St Vincent's, made from band-aids & photographic studio
portrait postcards.
SEP 2014
Photographs (with some photoshop trickery) I took for Habitual Criminal, a play by Carolyn Bock, a Shift Theatre production, showing at La Mama in October.
Another poster design/spot of photoshopping for Melbourne band Baron von Choice, set to tackle "the difficult follow-up gig" at Bella Union this month.
AUG 2014
A commissioned illustration for an article on the intertwining identities of therapist and mother.
JULY 2014
Helena Cedran has written a feature on my band-aid portraits, published on the Artrend section of 20 Minutos, a leading Spanish newspaper. You can read it here - if you can read Spanish!
JUNE 2014
HOWL
THE SIGNIFICANCE OF ANIMAL RELATIONSHIPS IN OUR HUMAN LIVES
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| Plastic Pig - Savina Hopkins (watercolour on paper) |
Kylie Blackley | Jill Bolitho | Gonzalo Ceballos | Charlie Chamma | Alana Di Giacomo | Shaun Duggan | Elizabeth Hickey | Savina Hopkins | Colleen Jones | Cheralyn Lim | Renuka Rajiv
Opening: Friday June 13th, 6 - 8 pm
Brunswick Arts Space, 2a Little Breese St, Brunswick, Vic.
Exhibition Dates: 14th - 29th June
Gallery hours: 2pm - 6pm Thurs & Fri, 12pm - 5pm Sat & Sun
MAY 2014
I designed this poster for Melbourne band Baron von Choice, who are performing at Bella Union next month.
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✂ This month marks the beginning of my year long art residency at St Vincent's Hospital. I'm rather enamoured with the studio space and very much looking forward to making new work here.
APR 2014
Pinknantucket Press have launched their latest issue of Materiality, this one with contributors responding to the theme 'Precious'. I have an article / series of photographs in it focusing on hard rubbish called 'Trash as Treasure'. Get yours here! Subjects covered in this edition include Japanese lacquer, love letters, the lost thylacine, illuminated manuscripts, saffron, luthiery, gems, rubbish and gold, plus cover art by Gracia & Louise.
[EDIT - This issue was reviewed on Arts Hub by Sonia Nair on July 15th]
Photograph - Savina Hopkins
FEB 2014
Brunswick Arts Space present 'Entry 2014', their 9th contemporary art prize / fundraiser. I have a piece in it, come along for the art and festivities.
Brunswick Art Space, 2a Little Breese St, Brunswick, Vic.
Opening: Friday 7th Feb, 6 - 9 pm
Exhibition dates: 8th - 16th Feb
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📌I'm very happy to have been awarded an artist residency at St Vincent's Hospital - Caritas Christi Hospice, commencing in May this year
JAN 2014
I collaborated with Renuka Rajiv on 2 artworks for this group exhibition
I've got you under my skin
COLLABORATING WITH THE OTHER
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| L: Androgynous Bosch (mixed media on paper) R: Pitted History (mixed media on paper) Savina Hopkins & Renuka Rajiv, 2014 |
Opening: 16 Jan, 6.30pm
Blak Dot Gallery - 430 Lygon St, East Brunswick, Vic
Exhibition Dates: 16th Jan - 2 Feb
Gallery hours: Thurs - Sunday, 10am - 5pm
DEC 2013
I have a work in the Belle Arti Prize, all details below.
5th Annual
Belle Arti Prize
35cm x 35cm, $5000 National Acquisitive Prize
Opening: Wednesday 11th December, 6 - 8 pm
Exhibition dates: 12 December - 25 January
Venue: Chapman & Bailey Gallery, 350 Johnstone St, Abbotsford, Vic
Gallery Hours: 10am - 5.30 pm Monday - Friday, 11am - 5pm Saturday
This year's judges are Juan Ford (Artist), Melissa Loughnan (Utopian Slumps) and Max Delany (NGV)
NOV 2013
Savina Hopkins
Inlet / Outlet, 2013 (collage on paper)
For years Hopkins’ practice has involved the synthesis of multiple fragments, creating 2D assemblages greater than their parts.
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Pinknantucket Press are the publishers of Materiality, a journal about the material world. My artwork features on the cover of Materiality: Time (Issue 2).
Opening: Wednesday 13th November, 6 - 9 pm
Rubicon ARI - Level 1/309 Queensberry St, North Melbourne, Vic.
Exhibition dates:13th - 30th November
Gallery Hours: Wed - Sat, 12 - 6pm
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Arts Hub have published this review of my exhibition, Close Quarters, by Marguerite Brown.
Arts Hub have published this review of my exhibition, Close Quarters, by Marguerite Brown.
For years Hopkins’ practice has involved the synthesis of multiple fragments, creating 2D assemblages greater than their parts.
Often
pillaging the musty, dusty domain of old stationery for inspiration, her latest
exhibition Close Quarters conjures both visual
poetry and meaningful suggestion from source material that would seem
incongruous to both – namely, antiquated office files. Through collaging
remnants from past paper bureaucracies, Hopkins has skillfully constructed
works that are anything but mundane with a lyrical yet understated aesthetic.
This
series relies on numerous perforated pieces of card and paper that were used as
file tabs in the early–mid 20th century.
These little fragments which in the frugal war years were often cut-up and
recycled from other documents, would sit on top of papers contained in old
Naval Department files, the entire file then punctured through with a metal pin
to hold it together. Rescuing the tabs from imminent disposal, Hopkins was
drawn to their interesting aesthetic qualities; their fragmentary words,
symbols, patterns and palette of often faded pastels that go beyond the
ubiquitous manila. This combined with their apparent incompleteness and
intriguing incoherency made them ideal fodder for collage construction.
With
forensic precision, Hopkins has sliced each individual tab to fit perfectly
into a broader schematic conception. Some collages in the exhibition contain an
almost topographical resonance, with swelling lines of meticulously shaped
rectangles that flow around or between sections of old maps, such as in Crosscurrent. The artist frequently
arranges the tabs into groupings of tone and colour to demarcate masses within
her compositions. Like patchwork fields viewed from the sky, or bodies of water
that negotiate protruding land masses, certain works such as Magnetic
Passage, Harbour and Unwatched
Channel seem
to deconstruct and reconstruct topographical conventions.
While
the tabs contain individual snippets of words in different typeface (or
sometimes hand written), along with various truncated shapes and emblems, they
share one common characteristic in the perforation that resides at their
centre. These small remnants have been injured in their former life, and each
carries its own ragged little wound. Yet with infinite care Hopkins has
re-invested value into worn shreds of paper that were destined for the bin. In
doing so she evokes both the intimate and the abstract, prompting deeper
inspection at close quarters.
Offsetting
the nostalgia for a bygone era that rises through the seams, a subtle
word/letter play contained in the works reveal Hopkins’ intellectual approach.
As she sets down a paper trail of fragmented human activity, the artist invents
a secret language – one that is ultimately left for the viewer to decode.
- Marguerite Brown
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Art Almanac has selected my show, Close Quarters, for the Feature Exhibitions section of their November issue, pg. 53
'Savina Hopkins salvages discarded objects and uses their broken histories as a springboard for exploration into the physical qualities of found objects and the ideas that are embedded in or extruded from them.
In this new body of work, she has used old card and paper file tags discarded by government departments due to their non-archival status. The tags come from naval department files from the 1930s and 40s, when paper was considered precious and the tags themselves were recycled from society’s ephemera – maps, theatre ticket stubs, racing cards and cigarette packs. Through collecting and re-configuring, Hopkins once again recycles these objects in her work. As she gathers, arranges and assembles these elements in an artwork, the seemingly insignificant has its meaning re-valued and re-interpreted.'
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My band-aid family portraits find their spiritual home... on the cover of Psychotherapy in Australia journal. Out now!
OCT 2013
Preparations are in full swing for my upcoming show, Close Quarters, at Rubicon ARI next month.
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| work in progress... |
I made the leather paper weight pictured above, using recycled leather from the spine from an old book, lead shot and waxed cotton thread. Collage fragments are firmly adhered to the substrate!
SEP 2013
Photo credit - Alice Cannon
Launch : Friday September 20th, 5.30pm at Sticky Institute
AUG 2013
Slow Watch
Karen Gray and Savina Hopkins
Curated by Gina Kalabishis
Exhibition Opening: Tuesday 27 August, 6-8pm
Venue: Gallery Ranfurlie, Korowa Anglican Girls’ School,
Viewing Dates: Wednesday 28 – Monday 2 September, 1- 4pm (excluding weekends)
Gallery Ranfurlie presents Slow Watch, the work of Melbourne artists Karen Gray and Savina Hopkins. Despite different approaches to art making, Gray and Hopkins both place symbolic value on the subject. Whether contemplating interpersonal relationships or keepsakes of personal significance, their work speaks of a preoccupation with the foundations of memory and the workings of the psyche.
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| Fiddler Beetle (Eupoecila australasiae) watercolour on paper |
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| Jewel Beetle (Castiarina media) watercolour on paper |
The Aikenhead Cente for Medical Discovery (ACMD) is holding it's inaugural Acquisitive Art Prize at St Vincent's Gallery. I have two scientific illustrations of beetles in this exhibition, painted from specimens studied under a microscope at Melbourne Museum. All details below.
Opening: Monday 19th August, 5pm - 7pm
St Vincent's Art Gallery, Ground floor, Daly Wing, 35 Victoria Parade, Fitzroy, Vic.
MC: Steve Ellen (RRR and 774)
Dates:1st - 28th August
Gallery hours: 9am - 5pm, Mon - Fri
JULY 2013
Sarah Gubby has written an artist profile on me, published on Heritage Rescue, Collections Conservation: 'Spotlight on Savina Hopkins'
MAY 2013
I have ploughed my family archives to create a series of portraits using adhesive dressings (‘band-aids’) as a primary medium. The band-aids approximate flesh tones and are applied to describe the form and contours of the body. Via the symbolic and metaphorical connotations band-aids can evoke, I aim to charge each portrait with psychological weight, exploring and amplifying interpersonal dynamics.
MARCH 2013
I have been working on a new series of work for a group portrait show, 'Limits of Likeness' at Rubicon ARI in May. Here is a sneak preview of work in progress....
FEBRUARY 2013
Marguerite Brown has written a review of my Dymo silhouette series on her blog Visual Pursuits. Click here to read it in full.
The Existential Ponderings of Savina Hopkins - Marguerite Brown (excerpt below)
"...her use of phrases assembled to shape various folks’ heads in profile, much like Victorian cameo pieces of yesteryear, cannot help but issue a deeper resonance beyond the instantly appealing retro aesthetic. These works draw our attention to how the words we say communicate more than we often intend about who we are, our values, ideas, what we think about our place in the world, and as such they touch on that most nebulous concept of personal identity. In doing so this series is quite revealing in its humour, albeit the kind of black humour which is particularly enjoyable. Like getting drunk and jovial at a wake despite being grief-stricken, it’s a bit of a fuck you to the dark unknowables of life."
JANUARY 2013
Yarra Arts - Energy from Stillness
ARTISTS: Matto Lucas, Emma Buckland, Alexander Edwards, Tama Favell, Hillary Green, Jacqueline Gwynne, Savina Hopkins, Cath Johnston, Sol Mann, Renuka Rajiv and Mel Simpson.
Opening: 6 - 8 pm, Wednesday January 16th
Red Gallery, 157 St Georges Rd, Fitzroy, Vic.
Exhibition runs: 16th Jan - 2nd Feb 2013
Gallery hours: Wed - Sat, 11am - 5pm
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| Subsumed (detail), 2013 (vinyl embossing tape on board) |
Vinyl ‘Dymo’ embossing tape is typically used for
labelling one’s possessions. In a similar way, our thoughts and stories help
define a person’s identity. By using the labelling tape to form head
silhouettes I am exploring the ways we employ spoken words and unspoken
thoughts to express our perceptions of ourselves and others.
'Small Works Get Up Close and Personal for a Big Impact' - Penny Webb (excerpt below)
Suitably reminded by Croce that metaphors enable us to absorb information and make sense of experience, pay a visit, too, to Hopkins' show across town. You are what you think. Savina Hopkins puts this idea to the test, with exquisite works incorporating statements such as ''False dichotomies pay my rent'' and ''Hell is a sparrow trapped in Ikea''.
Exceptionally, the former incorporates additional found graphics (from a bank note bearing a line drawing of a church and therefore beautifully illustrating the dichotomy of God and Mammon). The latter, which is a fabulous combination of pink, red, green and black strips, wittily delineates a bearded jaw with the use of forward slashes on black.
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Penny Webb has written a review of my Dymo work in The Age newspaper (Wed Jan 20th, 2013, pg 13).'Small Works Get Up Close and Personal for a Big Impact' - Penny Webb (excerpt below)
Suitably reminded by Croce that metaphors enable us to absorb information and make sense of experience, pay a visit, too, to Hopkins' show across town. You are what you think. Savina Hopkins puts this idea to the test, with exquisite works incorporating statements such as ''False dichotomies pay my rent'' and ''Hell is a sparrow trapped in Ikea''.
Exceptionally, the former incorporates additional found graphics (from a bank note bearing a line drawing of a church and therefore beautifully illustrating the dichotomy of God and Mammon). The latter, which is a fabulous combination of pink, red, green and black strips, wittily delineates a bearded jaw with the use of forward slashes on black.
The words, punctuation marks and symbols, which always appear as white, were embossed in strips of coloured self-adhesive vinyl tape by an old hand-held Dymo label printer, then cut, line by line, to a predetermined outline. Assembled, they create profiles of people that are successfully individualised, despite the clunky process.
See the clever delineation of the man's hat by a change of green in ''I won't forget no matter how long it takes''. Except for the pink, the coloured tapes are vintage. Only the most hard-hearted would think wood-grain vinyl is not something to treasure.
These silhouettes have been stuck down onto manila card that has been cut from old-fashioned folders, some printed with intended office use, and these connotations become part of the image.
Hopkins has an ear for a telling phrase, and as you stand close to these works in their splendid timber frames, ideas run in your head as they do in those of her subjects.
- Penny Webb
Photography - Erica Lauthier
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DECEMBER 2012
Belle Arti 2012 Prize Exhibition
Opening: 6 - 8 pm, Wednesday 12th December
Venue: Chapman and Bailey - 350 Johnston St, Abbotsford, Vic.
Judges: Sally Smart and Rosslynd Piggot
Exhibition runs: 12 Dec 2012 - 26 Jan 2013
Dad
bandaids, paper, linen, pencil and acrylic on linen (2012)
*UPDATE* - Thrilled to have been awarded a 'Highly Commended' for this work!
NOVEMBER 2012
OCTOBER 2012
SEPTEMBER 2012
Exhibition: 5th - 31st October, Mission to Seafarers Victoria, 717 Flinders St, Docklands, Vic.
Hours: 12 - 7pm, Wed - Sun
-+Savina+Hopkins.jpg)
Past Current
collage on paper (2012)
AUGUST 2012
I've been working on some new collages. In an attempt to get rid of stuff, I threw Gombrich's 'Story of Art' in the recycling, then reconsidered...I couldn't resist ripping it up, then doing a little collage, with some old advertising brochures. I feel a little series coming on...
My latest blog post features many nice dice. Click here for more!
JULY 2012
JUNE 2012
I created this image in response to the song 'Spiderinajar' by the band IAMLOVEPROOF for their inaugural zine.
APRIL 2012
I contributed images to Something Fine, a collaborative project based on encounters with first love.
MARCH 2012
Opening: 3.30pm, Thursday 29th March, State Library Victoria
The exhibition will be officially opened by Sue Hamilton, Acting CEO and State Librarian.
.jpg) |
| Oh me oh my oh, 2012 (digital print) |
This is a self-portrait carved into the trunk of a spotted gum tree. I documented the portrait over several seasons, watching it transform. As the shallow wound healed, it successively browned, cracked, and the bark shed. The line work of the original image thickened as gradually the image was both absorbed and erased by the continual growth of the tree. My interest in the nature of ageing, the formation and disintegration of identity and memory via this process, and ultimately, my relationship with death all inform this work.
FEBRUARY 2012
DECEMBER 2011
I have some collages in the group show
You Are Here
Opening: 4.30pm, Wednesday 12th December
Venue: Stockroom Gallery - 98 Piper St, Kyneton, Vic.
.jpg "Magnetic Passage - Savina Hopkins") |
| Magnetic Passage - Savina Hopkins |
My story & image of 'Antique Snails' is included in Leah Annetta's book 'Sunday Service: A History of the Camberwell Market'.
Launch: 10 am, Sunday 5th November 2011, Camberwell Market, Camberwell, Vic.
.jpg)
I created the artwork for the book 'On Being a Supervisee' by Michael Carroll & Maria C. Gilbert. It is a collage piece, created from old suspension files used for filing cabinets. More colours than just 'manilla', I was pleased to discover!
I provided the image for The Shift Theatre's new production 'The Girls in Grey', showing at La Mama, Carlton.
An illustration for an article 'Barking Mad: Too much therapy is never enough' by Andee Jones, published in the November issue of 'Psychotherapy in Australia' journal.
