Miriam Williamson & Brad Allen-waters

Miriam Williamson’s work explores a sense of place, and cultural and social histories through a range of media often activating underutilised sites. Originating in post-punk music and sound, her curatorial and art practice often involves collaboration with artists and musicians to realise site-specific projects. Brad Allen-Waters has taken a somewhat heuristic path to his present practice. Working as a graphic designer, set builder, lighting technician, architectural model making and silversmith, he incorporates laser-driven kinetic sculptures as tools for the exploration and expression of the oscillations that drive and keep life in time, from the astronomical to the molecular. His obsession with techno-aesthetics furthers his interdisciplinary dialogue cross-referencing metaphor and allegory in art, science, architecture and design.

The park is the site of an alleged attempt on the life of the artist’s father as he walked home from the night shift at the Kandos Cement Works on the 8th September 1952 by a hit and run driver. An outspoken union shop steward and advocate for social justice Jack Williamson was agitating for industrial action to improve conditions for workers and aiming to realise his political ambitions. The artists re-open this unsolved case and through fact and mythology produce an onsite installation and accompanied by the final edition of ‘The Kandos Voice’ based on ‘political propaganda produced by Williamson at the time.

The artists acknowledge the contribution of Ian Milliss – collaborator and editor of ‘The Kandos Voice’