Wyndham Art Prize Winners Announced – Mirage News

Wiradyuri conceptual artist, Amala Groom took home the prestigious 2020 Wyndham Art Prize for her work Copywrong.

Groom is a prominent artist whose work presents commentary on contemporary socio-political issues.

Copywrong shows the boomerang, an internationally recognised symbol of Australian culture, which has been cheapened by the tourism industry and sold as a souvenir.

Groom’s artwork highlights a lack of entitlements to copyright for Aboriginal cultural materials. The boomerang was made overseas, it has been marked with unidentifiable totems in acrylic paint and it was painted over by ochre to indicate how the Aboriginal culture needs to come back home.

The winner of the Local Emerging Artist Prize winner was wãni LeFrère with his work Final Solution and the Deakin University academic bursary prize went to Melanie Cobham for her work Unheard Voices.

Wyndham City Arts, Culture and Heritage Portfolio Holder, Cr Tony Hooper said the community asked for more creative and vibrant events to attend to make the City more liveable and the Wyndham Art Prize was an opportunity to see quality art right at their doorstep, albeit online on this year.

“Wyndham City is committed to vibrant arts and culture events for the community and that’s why we are dedicated to initiatives like the annual Wyndham Art Prize – and we are continuing our programs through Covid-19 via digital platforms.”

“The Wyndham Art Prize is one of the most prestigious art exhibitions in Victoria and we are delighted to attract such talented artists to Wyndham.”

Cr Hooper congratulated Groom, LeFrère, and Cobham on their winning pieces as the sixth annual Wyndham Arts Prize is taken to an online platform.

“With 77 talented artists selected as finalists, the independent judges had a tough decision to pick the winning pieces.”

“While the Wyndham Art Gallery is closed to the public, we invite you to visit our virtual gallery space, listen to recordings with artists and see the full exhibition catalogue.”

The Wyndham Art Prize People’s Choice Award is still up for grabs, and visitors are encouraged to vote for their favourite before Sunday 28th June. The winner will be announced on Tuesday 9th July. (To vote go to ).


On Thursday, 28th May at 6pm we will have a pre-recorded panel video discussion with local artists Carolyn Warren-Langford, Jonathan Mendez-Baute and Megan Bonnici and Wyndham Art Gallery Curator Megan Evans about artworks the artists have in the show, their creative practice, the experience of being involved in a digital exhibition, their creative practice, and how COVID-19 has impacted that practice.

View Video

On Sunday 31st May at 2pm the Sunday Salon will be held online. This free interactive session will be led by local artist and Wyndham Art Prize finalist, Emmet Davies. During the session, you’ll learn basic techniques and themes needed to construct a realistic portrait, including eyes, nose, mouth, hair and skin texture. Sunday Salon is free, but registrations are essential.


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From My Window: AGNSW presents Together In Art New Work

The Art Gallery of New South Wales (AGNSW) presents ‘Together In Art New Work’, a series of new artworks created by contemporary Australian artists for exhibition online.

The first of the series, ‘From My Window’, features works on paper depicting the private vantage points of nine artists from New South Wales including Mitch Cairns, Tom Carment, Emily Hunt, Jumaadi, Thea Perkins, Tom Polo, Jude Rae, Marikit Santiago, and Jelena Telecki; revealing the view outside the windows of their homes, studios and current places of residence.

Interior of artist Jude Rae’s studio in Redfern with the watercolours she created for the From My Window project. Photograph: Jude Rae

Upcoming projects include a suite of digital artworks and a series of artist books created with the National Art Archive at the Art Gallery of NSW.

‘From intimate watercolours and artist books to digital videos and performances, these new works celebrate the richness and diversity of contemporary Australian practice, and continue to foster the sense of connection and support that lies at the heart of Together In Art,’ said AGNSW Director, Dr Michael Brand.

Jude Rae, Out my window 1, 2020, graphite and watercolour on Saunders Waterford rough paper, 37.5 x 55.5cm. Courtesy and © the artist

‘In these works, each artist has responded, with humble materials and great sensitivity, to the critical moment we’re living through, when ideas of community, vulnerability and sustainability carry special urgency,’ adds AGNSW Assistant Curator, International Art, Lisa Catt.

‘Right now, trying to see or make sense of the big picture can feel overwhelming, so in this project, we have turned to small pictures. These are intimate scenes of comfort and contemplation, of uncertainty and change, of lost routines and newfound joys. Each work is as much about looking inwards as it is looking outwards,’ Catt added.

The series of drawings, prints and paintings are now on display. They form part of AGNSW’s Together In Art initiative, an online social project aiming to connect people through art, available online through the galley’s website and daily posts across Instagram, Facebook, Twitter, YouTube, and the weekly Together In Art e-newsletter.


Transference + A Common Thread | The power of collaboration and exchange

Craft ACT: Craft and Design Centre present two new exhibitions online featuring emerging and mid-career women artists from Canberra, the NSW South Coast and Adelaide. These artists have openly exchanged knowledge of their respective materials and explored how these materials connect us as humans.

Craft ACT CEO and Artistic Director Rachael Coghlan said, ‘These new exhibitions celebrate the long tradition of collaboration, mentorship and exchange within the craft community; traditions that will serve designers and makers well as we emerge from the COVID-19 crisis.’

Robyn Campbell, Echo, 2020, porcelain and glass. Photograph courtesy the artist.

‘Transference’ is a collaborative exhibition by ceramic and glass artist Robyn Campbell (ACT) and ceramicist Jo Victoria (NSW) that expresses their shared fascination with light and surface, and the potential of glass and porcelain to convey fragility and transience. Through a supportive process of learning, teaching, experimentation and play, the artists have developed a new body of work in which the intangible elements of light, shadow and reflection are significant, changing the pieces as natural light and perspectives shift.

Both artists also take inspiration from the natural world and their surrounding landscape – Campbell from Canberra’s surrounding natural beauty and Victoria from the coastal landscape of Mossy Point on the south coast of NSW.

Both artists felt safely supported by the collaborative process, which encouraged them to explore new techniques and new work. ‘Our love of the purity of glass and porcelain and their respective interactions with light has been the platform to push our art practices to new and exciting possibilities,’ Victoria said.

Sam Gold, Stillness Votive Vessels, 2020. Photograph: Sam Roberts. Courtesy the artist and Craft ACT: Craft and Design Centre

‘A Common Thread’ by emerging ceramic sculptor Sam Gold (SA) and textile artist Harriet McKay (ACT) is a multidisciplinary collaboration encompassing textile painting, ceramic sculpture and installation. Concerned with the concept of connection – connection to a material and in turn, the way this connects us as humans – this exhibition seeks to explore how time and space inform the artist’s behaviour with material and lament on the almost ritualistic process of repetitious acts during the creation process.

Gold explores this notion through clay and has created sculptural forms through repetitive mark-marking embedded within the medium that draw attention to the rhythms of making. Using his body as a tool, the clay becomes a site to document time and experiential narratives.

McKay layers naturally dyed felt, calico and raw canvas to create fibrous collages. Through a process of play, the interaction of different materials and the practice of repetitive trial and error, McKay’s works are arranged, ordered, and moulded the same way a painter pulls and pushes the paint around the space of a canvas.

Gold commented, ‘It has been both inspiring and satisfying to collaborate with Harriet and find that despite our different mediums, the concepts underpinning our pursuit for making work is a common thread that runs deep through our practices. Utilising our shared experience, the cathartic enjoyment of touch and by weaving tactile stories together across disciplines, we were able to share technical approaches to materials and philosophies, which allowed our practices to deepen.’

Both exhibitions can be viewed online, from 15 May to 27 June 2020.