• Andrew Frost Cementa Residency

    30 July 2018

    The first night in Kandos at the residency the overnight temperature dropped to – 8.

  • Artist Report by Irene Ridgeway

    04 June 2018

    On my first day of arrival till the last day of leaving there was always a sense of a belonging, not only to country but finding a new belonging to people and history?

  • Artist Report: Claire Healy and Sean Cordeiro

    26 May 2018

    Staying in Kandos feels a little bit like being back in art school. When we went to University, CoFA campus was tiny. It was quite hard to get around without bumping into friends and having a nice chat.

  • Recognise by Aleshia Lonsdale. Facilitated by Jason Lujan

    05 April 2017

    When researching for this project I was struck by the lack of acknowledgement of the First Nations People of New York. This work was a step into a medium I have not explored i.e street art in the forms of stencils and as a follow up paste ups. The design was a fusion of an Aboriginal Australian protest slogan – Always was, Always will be Aboriginal Land and the Native American Medicine Wheel – with the colours of red, yellow and black which hold significance for both First Nations peoples. This work was an attempt to bring to peoples consciousness the presence of First Nations people in New York city and their connection to their land.

  • Sophie's Circles by Margaret Roberts, facilitated by Melissa Stieger

    01 April 2017

    Sophie’s Circles is also intended to create a continuity with and acknowledgement of the artists working a century ago to develop artforms and art practices that could contribute to the revaluation of place (though they may have used different language), well before the disasterous consequences of this devaluation in climate change was generally acknowledged. It also experiments with ways of including the relationship with actual space that is such an important part of their work by preventing its actual space (the ‘space’ of Spaceland) from being subsumed into the virtual space of photographic documentation (our own variation of Lineland).

  • Highland Dancing at Kandos

    27 March 2017

    We are dancing together to create a performance, Whispers in the Grass, a story of dispossession, grief and survival. Dance speech poetry and song are the archives of oral cultures and we are building our own archive of feeling. It is one of many stories of the Scots diaspora to Australia in the 19th century and it follows a local story, the story of how local farmer George McDonald’s forebears came from famine in Skye in 1852, to the Capertee Valley.

  • The Daily Diminish

    17 March 2017

    Every day, comments are made to women which shape their identity, behaviours, social groups and self worth. Most of these are said with such frequency that we hardly acknowledge them. The phrases run the gamut, addressing behaviour and appearance along with directing our aspirations and goals.

  • "Emma Goldman Action" Artist: Zanny Begg Perfor- mance: Anya Rosen

    06 March 2017

    As I began research on this project I chanced upon a collection of speeches by Emma Goldman. As I re-read one of her speeches from New York I was struck by a collapsing sense of time. One hundred years ago Emma Goldman was arrested for distributing information on birth control for women.

  • 10 Steps to Moma - Sarah Breen Lovett

    28 February 2017

    10 STEPS TO MOMA is an instructional work resulting in a moving image work that aims to test the notion of ‘publicness’ of a public places and our engagement with the architecture of institutions.

  • Tim Burns ARTIST IN RESIDENCE KANDOS NOVEMBER 2016

    30 January 2017

    I stayed at Ann Finegans’ Kandos Projects, a converted general store in the main street of Kandos a small town with an uncertain future that has become something of a artists haven with cheap unoccupied buildings available in a state where housing has become unaffordable particularly for low income artists.

  • Artist Report: Claire Conroy

    01 August 2016

    Anne and I arrived at McMaster’s shop around midday and meandered around the hundreds of pot plants in search of Bruce and the miniature horses which I couldn’t resist calling ponies. To my delight we found them as they were huddling around in the shed all slopped with mud post rain, their little hooves all muddy and their manes drooping over their eyes. Bruce appeared from the doorway of the colossal industrial shed, backlit by green corrugated plastic, ‘industrial stained glass’ as Ann pointed out…

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