{"id":273,"date":"2014-06-25T07:22:30","date_gmt":"2014-06-24T21:22:30","guid":{"rendered":"http:\/\/sieglindekarl-spence.com.au\/?page_id=273"},"modified":"2021-02-17T10:15:48","modified_gmt":"2021-02-16T23:15:48","slug":"c-v","status":"publish","type":"page","link":"http:\/\/sieglindekarl-spence.com.au\/?page_id=273","title":{"rendered":"C.V"},"content":{"rendered":"

SIEGLINDE KARL-SPENCE<\/strong>\u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/h2>\n

\u00a0<\/strong><\/p>\n

email: karl.spence@optusnet.com.au<\/strong><\/p>\n

 <\/p>\n

1943\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Born Lahr, Germany.<\/p>\n

1953\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Moved to Australia. Settled in Griffith, N.S.W.<\/p>\n

1962-65\u00a0\u00a0\u00a0\u00a0 Worked and travelled in New Zealand, Europe and England.<\/p>\n

1968\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Moved to England.<\/p>\n

1974-78\u00a0\u00a0\u00a0\u00a0 Studied Jewellery at Middlesex Polytechnic, London, England.<\/p>\n

1982\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Returned to Australia.<\/p>\n

2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Based in Tasmania and Sydney<\/p>\n

2012\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Based in Bundeena \u2013 Royal National Park – Sydney<\/p>\n

 <\/p>\n

I call myself an Earth artist because my work is primarily concerned with a reverence for and an honouring of the land. My practice ranges from works for the body to transitory site-specific offerings in the landscape, gallery installations and other sculptural pieces. The works are concerned with nature, psychological states of mind and cycles of existence and are made from predominantly natural materials.<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

This allows me to speak about my ecological commitment, as well as creating work which \u2018touches the earth lightly\u2019. The wearers\/viewers are reminded not only of the beauty of the natural world, but also of their symbiotic relationship with it.<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

The natural world is for me a site of healing and solace, as well as spiritual renewal.<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

My work is about absence as much as presence, about memory and loss<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about dreams and mystery<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about vulnerability and protection<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about spirituality and fragility<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about expanding existing boundaries<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about longing and belonging<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 but mostly about heart and soul.<\/em><\/span><\/p>\n

\u00a0<\/span><\/p>\n

INSTALLATION\/ PERFORMANCE WORKS\/ TRANSITORY ‘SKETCHES’
\n<\/strong><\/span><\/h3>\n

 <\/p>\n

2016<\/span>
\n<\/strong><\/em><\/span><\/h3>\n

“native mistletoe mandala” – <\/strong><\/em>Amylothica dictyophleba – transitory work – exists as photograph only – Brushgrove – October – photograph:\u00a0 Paul Brennan<\/span><\/p>\n

“today in the garden at Bundeena”<\/strong><\/em>– transitory “sketch” – ephemeral work – exists as photo only – Bundeena – February – photo: Tim Cole<\/span><\/p>\n

2015<\/span><\/h3>\n

\u00a0\u00a0\u00a0\u00a0 \u00a0 “Gatherings”<\/strong> – Transitory “sketch” <\/em>– ephemeral work – exists as photograph only -Bundeena November – photo: Tim Cole\u00a0 <\/span>
\n \u00a0\u00a0\u00a0 \u00a0\u00a0 “a walk to the shops at Bundeena” <\/strong><\/em>– Transitory “sketch”- ephemeral work – exists as photograph only – Bundeena – November<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0Acacia floribunda blossoms <\/em><\/strong>– ephemeral work – exists as photograph only – Bundeena \u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 Darwinia Citriodora blossoms <\/span><\/em><\/strong>– ephemeral work- exists as photograph only – Bundeena \u00a0 \u00a0 \u00a0 \u00a0<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 Callicoma serratifolia blossoms\u00a0<\/em><\/strong>– ephemeral work – exists as photograph only – Bundeena\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span>
\n<\/em><\/strong><\/p>\n

2014\u00a0\u00a0\u00a0 <\/strong><\/span><\/h3>\n

Christmas Mandala<\/em>\u00a0 – <\/strong>Corymbia ficifolia blossoms – <\/strong>ephemeral work – exists as\u00a0 photograph only – Bundeena December 2014<\/span><\/p>\n

Burragorang storm offering<\/em> –\u00a0 <\/strong>Angophora costata seed pods – ephemeral work – exists as photograph only \u2013 Bundeena November<\/span><\/p>\n

2013 <\/span><\/h3>\n

\u201cHome & Hosed\u201d- <\/em><\/strong>exhibition at Hazelhurst Gallery, Sydney \u2013 curated by Liz Nowell – installed<\/span><\/p>\n

‘Healing Mandala’ \u2013 365 Offerings\u201d<\/strong> \u2013Hazelhurst Gallery \u2013 Gymea NSW –\u00a0\u00a0 16th<\/sup> May \u2013 30th<\/sup> June<\/span><\/p>\n

“Grevillea eriostachya meditation for Rory”<\/em><\/strong>ephemeral work \u2013 20th<\/sup> May 2013<\/span><\/p>\n

\u201cHardenbergia violacea\u201d <\/em><\/strong>blossoms \u2013 meditation for Rory \u2013 ephemeral work \u2013 exists as photograph only \u2013 Bundeena \u2013 20th<\/sup> August.<\/span><\/p>\n

\u201cAngophora floribunda blossoms mandala\u201d<\/em><\/strong> \u2013 Christmas 2013 \u2013 ephemeral work \u2013 exists as photograph only \u2013 Bundeena \u2013 23rd<\/sup> December<\/span><\/p>\n

\u201cScaevola aemula petals mandala\u201d \u2013 <\/em><\/strong>ephemeral work \u2013 exists as photograph only \u2013 Bundeena \u2013 31st<\/sup> December.<\/span><\/p>\n

2012\u00a0\u00a0<\/span><\/h3>\n

\u2018arrows of eternity mandala\u2019<\/em><\/strong> \u2013 whittled eucalyptus sticks – ephemeral work \u2013 made in\u00a0 the artists studio and recorded photographically by the artist \u2013 12th<\/sup> December<\/span><\/p>\n

\u2018Dance of life \u2013 spirit and transformation\u2019 \u2013 <\/em><\/strong>ephemeral work \u2013 Royal National Park,Sydney \u2013 16th<\/sup> May \u2013 recorded photographically by Elizabeth Bungay-Burbidge.<\/em><\/strong><\/span><\/p>\n

\u2018throwing sticks shadow\u2019 \u2013 <\/em><\/strong>ephemeral work \u2013 Royal National Park, Sydney \u2013 16th<\/sup> May Photographed by the artist.<\/span><\/p>\n

\u2018Constellation dreaming at the cliff edge\u2019 \u2013<\/em><\/strong> ephemeral work using whittled eucalypt sticks \u2013 Royal National Park, Sydney \u2013 16th<\/sup> May \u2013 recorded photographically by the artist.<\/span><\/p>\n

\u2018Flight and resurrection\u2019 \u2013 <\/em><\/strong>ephemeral work made in studio at Bundeena \u2013 4th<\/sup> June. Recorded photographically by the artist.<\/span><\/p>\n

‘Wonga Wonga vine Mandala’ \u2013 <\/em><\/strong>ephemeral work made at Alison & Boyd’s Burragorang Valley home – 29th<\/sup> September<\/span><\/p>\n

‘Lorikeet feather dreaming’ mandala \u2013<\/em><\/strong> ephemeral work made in studio at Bundeena, 9th <\/sup>October<\/span><\/p>\n

2011 <\/span><\/h3>\n

\u2018Das Lied von der Erde<\/em><\/strong> Mandala \u2013 365 Opfergabe – Song of the Earth Mandala \u2013 365\u00a0 offerings \u2013 (homage to Gustav Mahler symphony\u2019) <\/em><\/strong>commissioned artwork for the Holman Clinic, Launceston General Hospital through arts @ work<\/em> \u2013 March<\/span><\/p>\n

\u2018Feathering\u2019 \u2013 <\/em><\/strong>ephemeral installation on Maria Island using Cape Barren Geese feathers \u2013 part of Maria Island Camp- Architecture Studio \u2013 University of Tasmania \u2013 March<\/span><\/p>\n

\u2018Acacia longifolia Mandala \u2013 Bundeena\u2019<\/em><\/strong> \u2013 <\/em><\/strong>made with Tamah McDonald Karl in new studio at Bundeena. Ephemeral work recorded photographically \u2013 12th July.<\/span><\/p>\n

\u2018Paul\u2019s birthday mandala\u2019 \u2013<\/em><\/strong> Brushgrove \u2013 ephemeral work recorded photographically \u2013 6th <\/sup>May. Using reeds growing by the Clarence River.<\/span><\/p>\n

2010<\/span><\/h3>\n

Seed Meditation \u2013 allocasuarina seeds \u2013 gifted to James Jones and Petrina Moore<\/span><\/p>\n

Seed Meditation \u2013 Kennedia rubicunda seeds \u2013 photographed by Philip Kuruvita<\/span><\/p>\n

Seed Meditation \u2013 Acacia terminalis seeds \u2013 photographed by Philip Kuruvita<\/span><\/p>\n

\u2018Memento Mori for Rory\u2019 \u2013 <\/em><\/strong>eucalyptus leucoxylon blossoms \u2013 from tree at Denman Road planted in memory of Rory in 2004 \u2013 made with Tina Leaman in studio, 2nd<\/sup> June, 2010 \u2013 recorded photographically by Philip Kuruvita<\/span><\/p>\n

\u2018Heather memento mori for Rory\u2019 \u2013<\/em><\/strong> heather gathered and made into a mandala, from the moors above Edmundbyers in Northumbria, England where some of Rory\u2019s ashes were scattered 6 years ago \u2013 recorded photographically<\/span><\/p>\n

 <\/p>\n

2006-2009\u00a0\u00a0\u00a0\u00a0 Ephemeral site-specific installations at various locations using natural <\/span>found materials \u2013 recorded photographically.<\/span><\/h3>\n

 <\/p>\n

2008 <\/span><\/h3>\n

‘Sorry day\u2019 mandala<\/em><\/strong> \u2013 February 14th<\/sup> \u2013 Kevin Rudd apologises to the Aboriginal Stolen Generation<\/span><\/p>\n

\u2018Seeds for Thought\u2019 \u2013<\/em><\/strong> Artist-in-Residence on King Island, at King Island Cultural\u00a0 Centre, with director Sally Marsden co-ordinating working with local community and school to create three mandalas from ideas relating to fire.<\/span><\/p>\n

2006<\/span><\/h3>\n

\u2018Ephemeral Art at the Invisible Lodge\u2019 <\/em><\/strong>– ephemeral and site specific work made at\u00a0\u00a0 Friendly Beaches, Freycinet, Tasmania, entitled \u2018transient trance\u2019- <\/em><\/strong>commissioned by Joan Masterman. Assisted by Gillian Marsden.<\/span><\/p>\n

\u2018Memento Mori for Rory\u2019 \u2013 mandala – <\/em><\/strong>ephemeral work \u2013 Clematis aristata seeds recorded photographically by Philip Kuruvita.<\/span><\/p>\n

2005<\/span><\/h3>\n

\u2018Gatherings\u2019- <\/em><\/strong>working with Northern Suburbs Community Centre and Adult Day Support Centre to create mandalas from natural found materials on the site.<\/span><\/p>\n

‘Memento Mori for Rory’ – <\/em><\/strong>ephemeral work made in Griselda\u2019s garden in Northumberland, England to commemorate one year since Rory\u2019s death, using 365 upturned daisies- 20th May- recorded photographically.<\/span><\/p>\n

\u2018Inula\u2019 – <\/em><\/strong>ephemeral sketch using Inula petals from Griselda\u2019s garden- August- recorded photographically.<\/span><\/p>\n

2004<\/span><\/h3>\n

\u2018Five Mandalas – The Web of Life\u2019 <\/em><\/strong>– commissioned by the Burnie City Art Gallery to work with the Burnie community to make an installation in the gallery which responds to Burnie\u2019s natural environment.<\/span><\/p>\n

\u2018Memento Mori Mandala for Rory\u2019 –<\/em><\/strong> ephemeral work made in studio with Gillian Marsden using Callistemon subulatus blossoms – 15th November – recorded photographically by Philip Kuruvita.<\/span><\/p>\n

2003<\/span><\/h3>\n

\u00a0 \u2018Future Perfect\u2019 – <\/em><\/strong>collaboration with writer and art critic Peter Timms on a project co-ordinated by Dick Bett and Gerard Castles bringing together writers, thinkers and visual artists responding to the Forestry debate in Tasmania and particularly the unwelcomed sponsorship of Forestry Tasmania with the 10 Days on the Island <\/em>Festival.<\/span><\/p>\n

2002-2003<\/span><\/h3>\n

\u00a0\u2018Healing Mandala – 365 Offerings\u2019 –<\/em><\/strong> installed at the Queen Victoria Museum & Art Gallery, Inveresk site as part of the Association of Australian Gallery Guiding Organisations 14th National Biennial Conference\u2018Evolving Landscape\u2019.<\/span><\/p>\n

2002<\/span><\/h3>\n

\u00a0Adelaide Festival of the Arts 2002 –\u2018edible lei\u2019 Project <\/em><\/strong>– in collaboration with Gay Bilson (co-director of Adelaide Festival) – Queen Elizabeth Hospital, Adelaide.<\/span><\/p>\n

\u2018eternal echoes\u2019 – <\/em><\/strong>site-specific installation commissioned by the University of Tasmania North-West Centre, Burnie.<\/span><\/p>\n

DarkLight – <\/strong>site specific installation\/performance to celebrate the winter solstice. Inaugural installation at new Wood Design Collection Gallery – curator Barbara Bullard.<\/span><\/p>\n

Radiance – \u2018timeless gifts\u2019 <\/em><\/strong>site specific installation at Holy Trinity Anglican Church, Launceston, in celebration of 100 years of consecration and as a memorial to first anniversary of 11th September – curated by Adam Blackshaw.<\/span><\/p>\n

2001<\/span><\/h3>\n

\u00a0Ephemeral Sculpture Project – \u2018in memory of….\u2019 – <\/em><\/strong>site specific installation at new Queen Victoria Museum & Art Gallery, Inveresk, Launceston – curated by Bridget Sullivan.<\/span><\/p>\n

Boat – \u2018journey of eternal beginnings\u2019 – <\/em><\/strong>installation in Kelly\u2019s Garden, Salamanca Arts Centre, Hobart – curated by Frieda Beukenkamp.<\/span><\/p>\n

2000<\/span><\/h3>\n

\u20185 Gold rings\u2019 <\/em><\/strong>– \u2018The First Day\u2019<\/em><\/strong> – installation in Kelly\u2019s Garden, Salamanca Arts Centre, Hobart, curated by Frieda Beukenkamp.<\/span><\/p>\n

\u2018Secret Places\u2019<\/em><\/strong> – Collaborative Installation with photographer Kate Hamilton, writer Hazel Smith and composer\/musician Ron Nagorcka – Orange Regional Gallery, Orange, New South Wales..<\/span><\/p>\n

\u2018Boobyalla offering for burnt ground\u2019 – <\/em><\/strong>site-specific transitory installation on land on NE coast of Tasmania – 24th September – recorded photographically.<\/span><\/p>\n

1999<\/span><\/h3>\n

\u2018Healing Mandala – 365 Offerings\u2019 – <\/em><\/strong>installed as part of Seeing and Remembering <\/strong>exhibition at Poimena Gallery, Launceston – curator Robert Ikin.<\/span><\/p>\n

1998<\/span><\/h3>\n

\u20188th Gasworks Outdoor Sculpture Exhibition\u2019<\/em> <\/strong>– Gasworks Park, Melbourne, part of the Visual Arts programme for l998 Melbourne International Festival of the Arts<\/em> – 10 site specific ephemeral installations.<\/span><\/p>\n

\u2018Healing Mandala – 365 Offerings\u2019 –<\/em><\/strong> installed as part of the Canberra National Sculpture Forum<\/strong> in the Canberra School of Art Gallery Foyer and also as part of Text-Isle Regional Fibre Forum<\/strong>, Hobart.<\/span><\/p>\n

\u2018SORRY\u2019 <\/em><\/strong>– site specific transitory installation on beach on North Coast, Tasmania – recorded photographically.<\/span><\/p>\n

\u2018Devotional Mantle\u2019<\/em><\/strong> – site-specific, participatory, ephemeral earth art project installed at the Australian National Botanic Gardens as part of the Canberra National Sculpture Forum<\/strong>.<\/span><\/p>\n

\u2018Offering of Reconciliation and Healing\u2019<\/em><\/strong> – site specific installation Roaring Beach, Tasman Peninsula, as part of the Tasmanian Seachange<\/strong> project.<\/span><\/p>\n

1997<\/span><\/h3>\n

\u2018Placing the Secrets\u2019<\/em> – <\/strong>Sound and Image comprovisation-collaboration with austraLYSIS at Performance Space – Sydney.<\/span><\/p>\n

\u2018Honesty Offering\u2019<\/em><\/strong> – Site-specific transitory installation in private garden for Christmas celebration, Launceston, Tasmania.<\/span><\/p>\n

\u2018Henty Dunes Offering\u2019 <\/em><\/strong>– Site-specific transitory installation in South West Coast,Tasmania – recorded photographically.<\/span><\/p>\n

\u2018Red Bead seed offering\u2019<\/em><\/strong> – Site-specific transitory installation and performance, honouring Jack Agostini stone circles of l940, Botanic Gardens, Darwin. Solo work, recorded photographically and on Video.<\/span><\/p>\n

Site-specific transitory \u2018Ariadne Seed\u2019<\/em> offering at Rapid Creek, Darwin. Solo work, recorded photographically.<\/span><\/p>\n

Site-specific transitory \u2018Pandanus Seed\u2019<\/em> offering at Botanic Gardens, Darwin. Solo work, recorded photographically.<\/span><\/p>\n

\u2018l000 Red Strings\u2019<\/em><\/strong> – <\/strong>Installation at Language, Learning & Culture Conference<\/em>, Darwin, with Edwin Ride as co-ordinator.<\/span><\/p>\n

\u2018Healing Mandala\u2019 <\/em>– 365 Offerings\u2019<\/em><\/strong> – installed at Woods Street Gallery, Darwin.<\/span><\/p>\n

\u2018Earthlinks\u2019 <\/em><\/strong>– Collaborative installation with basketmaker Gwen Egg at Earthlinks<\/em> environmental education conference, University of Tasmania, Hobart.<\/span><\/p>\n

\u2018Secret Places\u2019<\/em><\/strong> – Collaborative Installation with photographer Kate Hamilton, writer Hazel Smith and composer\/musician Ron Nagorcka – Waverley City Gallery – Mildura Arts Centre, Mildura. CAST Touring Exhibition.\u00a0\u00a0<\/span><\/p>\n

1996<\/span><\/h3>\n

\u2018Secret Places\u2019<\/em><\/strong> – Collaborative Installation with photographer Kate Hamilton, writer Hazel Smith and composer\/musician Ron Nagorcka, Queen Victoria Museum & Art Gallery, Launceston; Tasmanian Museum & Art Gallery, Hobart.<\/span><\/p>\n

\u2018Mildura Reflections\u2019 <\/em><\/strong>– Site specific, commissioned installation in grounds of Mildura Arts Centre, for \u2018Confluence\u2019, visual art component of Mildura Arts Festival.<\/span><\/p>\n

\u2018Healing Mandala – 365 Offerings\u2019<\/em><\/strong> – Gallery Installation, as part of \u2018Confluence\u2019, visual art component of Mildura Arts Festival.<\/span><\/p>\n

1995<\/span><\/h3>\n

Site-specific transitory \u2018offering\u2019 at Little Musselroe Bay, East Coast Tasmania, January. Solo work, recorded photographically.<\/span><\/p>\n

Site-specific transitory \u2018offering\u2019 at Lord Howe Island. Solo work, recorded photographically.<\/span><\/p>\n

Site-specific transitory \u2018offering\u2019 at Ocean Beach, Strahan, West Coast Tasmania, September. Solo work, recorded photographically.<\/span><\/p>\n

Gallery Installation, entitled \u2018Healing Mandala – 365 Offerings\u2019<\/em><\/strong>, created as entry for Blundstone Contemporary Art Prize 1995; entry reached 2nd stage of competition.<\/span><\/p>\n

\u2018Interaction\u2019 <\/em><\/strong>– Site-specific installation entitled \u2018Travelling Beyond\u2019 in Cataract Gorge Cliff Grounds for Launceston Sculpture Project, co-ordinated by ARThouse; collaborative project with Gillian Marsden.<\/span><\/p>\n

1994<\/span><\/h3>\n

Site-specific transitory \u2018offering – 3 Honesty Rings\u2019 in Griselda\u2019s garden, Hallsteads, Alnmouth, Northumberland, UK. Solo work, recorded photographically.<\/span><\/p>\n

1993<\/span><\/h3>\n

Site-specific transitory \u2018offering\u2019 at Little Musselroe Bay, East Coast Tasmania, December. Solo work, recorded photographically.<\/span><\/p>\n

\u2018To the Surface\u2019<\/em><\/strong> – Installation entitled \u2018Earthbound\u2019, in exhibition of contemporary landscape art curated by Ray Arnold, Plimsoll Gallery, University of Tasmania Centre for the Arts, Hobart. Group event.<\/span><\/p>\n

1992<\/span><\/h3>\n

Site-specific transitory \u2018offering\u2019 at Sundown Point, West Coast Tasmania, December. Solo work, recorded photographically.<\/span><\/p>\n

1991<\/span><\/h3>\n

\u00a0Permanent site specific installation in natural environment, at Waverley Flora Park, Hobart – collaborative project with Torquil Canning, dry stone waller. Funded by TAAB through Tasmanian Arts Council.<\/span><\/p>\n

\u2018Dreams – Memories\u2019<\/em><\/strong> – Installation\/Audience Participation work, at the Gatekeeper’s Cottage (Queen Victoria Museum & Art Gallery annexe), Cataract Gorge, Launceston. Solo event.<\/span><\/p>\n

\u2018Our Common Ground\u2019<\/em><\/strong> – \u2018Earthlines\u2019<\/em><\/strong>: one day installation\/audience participation work at University of Tasmania’s Centre for the Arts, Hobart, as contribution to seminar associated with visit by Susan Clifford of U.K.’s ‘Common Ground’. Solo event, recorded on video and in post-conference publication.<\/span><\/p>\n

\u2018Gateways at Fortesque Bay\u2019<\/em><\/strong> – \u2018Fragile Visions\u2019: permanent site specific installation in the natural environment of Fortesque Bay, Tasman Peninsular. Funded by the Forestry Commission in connection with visit by Susan Clifford of U.K.’s ‘Common Ground’. Group event.<\/span><\/p>\n

1990\u00a0\u00a0\u00a0<\/span><\/h3>\n

\u2018TRANCEfigureD SPIRIT\u2019<\/em><\/strong> – Installation\/Performance at Arthouse, Launceston. collaborative work with sound-text poet Hazel Smith & dancer\/performer Graham Jones. One-off collaborative event.<\/span><\/p>\n

\u2018World Environment Day – June 5th\u2019 – <\/em><\/strong>Performance work in Launceston streets \u2013 wearing garland of Japanese maple and pinning leaves onto passers-by.<\/span><\/p>\n

1989<\/span><\/h3>\n

\u2018Signed Original Since\u2019<\/em><\/strong> – Collaborative performance at Tasdance studios, Launceston, Tasmania. December. Group event.<\/span><\/p>\n

1988<\/span><\/h3>\n

\u2018Transience, Place, Memories\u2019<\/em><\/strong> – Installation at Cockatoo Gallery, Launceston, Tasmania. Solo event.\u00a0\u00a0<\/span><\/p>\n

1985<\/span><\/h3>\n

\u2018Installation of Jewellery and Metalwork\u2019<\/em><\/strong> – Five Steps Gallery, Sydney. Solo event.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

SOLO EXHIBITIONS<\/strong><\/span><\/h3>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/strong><\/span><\/p>\n

1988\u00a0\u00a0<\/span><\/h3>\n

\u2018Tasmanian Marks & Relics\u2019<\/em><\/strong> – Devonport Art Gallery,Tasmania.\u00a0 – Crafts Council Gallery of Tasmania, Hobart. – Contemporary Jewellery Gallery, Sydney.<\/span><\/p>\n

1987\u00a0\u00a0<\/span><\/h3>\n

\u00a0 \u2018Tasmanian Marks & Relics\u2019<\/em><\/strong> – Tasmanian State Institute of Technology, Launceston, Tasmania.<\/span><\/p>\n

1986<\/span><\/h3>\n

\u2018Australian Impressions\u2019<\/em><\/strong> – Electrum Gallery, London.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

GROUP EXHIBITIONS<\/strong><\/span><\/h3>\n

\u00a0<\/strong><\/span><\/p>\n

2020
\n<\/strong><\/em><\/span><\/h3>\n

’20 Years of Hazelhurst’<\/strong><\/em>\u00a0– “Body Attachment\/Neckpiece” –\u00a0Hazelhurst Regional Gallery & Arts Centre –\u00a021st November 2020 – 31st January 2021<\/span><\/p>\n

 <\/p>\n

2019
\n<\/strong><\/em><\/span><\/h3>\n

‘Broads of Bundeena’ – Moran Exhibition<\/strong><\/em>\u00a0– “Flight and Ressurection”, “Momento mori mandala” – Moran Gallery at Sylvania – 10th April to 9th June 2019<\/span><\/p>\n

2009<\/span><\/h3>\n

\u2018Bravura\u2019 21st<\/sup> Century Australian Craft \u2013 <\/em><\/strong>Art Gallery of South Australia, Adelaide,\u00a0 Curator \u2013 Robert Reason<\/span><\/p>\n

2008<\/span><\/h3>\n

\u2018Christmas 2008 Exhibition\u2019 \u2013<\/em><\/strong> Electrum Gallery, London<\/span><\/p>\n

\u2018The Work of Art\u2019<\/em><\/strong> \u2013 exhibition \u2013 University Gallery, Launceston \u2013 curator Jane Deeth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

2007<\/span><\/h3>\n

\u2018Ornament as Art\u2019 Avant-Garde Jewelry from the Helen Williams Drutt Collection \u2013 <\/em><\/strong>The Museum of Fine Arts, Houston USA \u2013 curator Cindi Strauss \u2013 travelling exhibition<\/span><\/p>\n

\u2018Christmas 2007 Exhibition\u2019 <\/em><\/strong>\u2013 Electrum Gallery, London<\/span><\/p>\n

2006\u00a0<\/span><\/h3>\n

\u2018the crafted object 1960s-80\u2019s\u2019 \u2013 <\/em><\/strong>National Gallery of Australia \u2013 curated by Robert Bell,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Senior Curator, Decorative Arts and Design \u2013 26 August to 10 December.<\/span><\/p>\n

\u2018Wallpaper\u2019<\/em><\/strong>– Carnegie Gallery, Hobart – curated by Greg Leong.<\/span><\/p>\n

\u2018making relations\u2019 \u2013 \u2018mandala for the path of awakening\u2019<\/em><\/strong> – <\/strong>CAST Gallery, Hobart -Devonport Regional Gallery \u2013 CAST Touring Exhibition \u2013 curator: Suzi Attiwell<\/span><\/p>\n

2005<\/span><\/h3>\n

\u2018Christmas 2005 Exhibition\u2019 <\/em><\/strong>– Electrum Gallery, London.<\/span><\/p>\n

\u2018Woven forms\u2019 contemporary basket making in Australia <\/em><\/strong>– Object Gallery, Sydney – Curated by Lola Greeno, Lindy Allen, Louise Hamby, Virginia Kaiser, Andrew Nicholls, Brian Parkes. – travelling exhibition.<\/span><\/p>\n

2004\u00a0 <\/span><\/h3>\n

\u2018Christmas 2004 Exhibition\u2019 – <\/em><\/strong>Electrum Gallery, London.<\/span><\/p>\n

2003<\/span><\/h3>\n

\u2018Christmas 2003 Exhibition\u2019 – <\/em><\/strong>Electrum Gallery, London.<\/span><\/p>\n

2002-2004<\/span><\/h3>\n

\u00a0\u2018City of Hobart Art Prize 2002\u2019 <\/em><\/strong>– Tasmanian Museum & Art Gallery, Hobart. Judged by Grace Cochrane, Dr. Benjamin Genocchio & Peter Timms.<\/span><\/p>\n

\u2018Material Witness\u2019 – <\/em><\/strong>15th Tamworth Fibre Textile Biennial –<\/strong> Tamworth City Gallery, Tamworth, curated by Robyn Daw. Travelling nationwide for 2 years.<\/span><\/p>\n

\u2018wild nature\u2019 <\/em><\/strong>in contemporary Australian art and craft – <\/strong>Jam Factory Contemporary Craft and Design Gallery, Adelaide. SA – curated by Margot Osborne. Travelling nationwide for 2 years.<\/span><\/p>\n

\u2018Christmas 2002 Exhibition\u2019 – <\/em><\/strong>Electrum Gallery, London.<\/span><\/p>\n

2001<\/span><\/h3>\n

\u00a0\u2018Aspects of Tasmanian Art\u2019 <\/em><\/strong>– inaugural exhibition at new Queen Victoria Museum & Art Gallery, Inveresk, Launceston – curator Bridget Sullivan. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

\u2018past lives, new beginnings…\u2019 <\/em><\/strong>Migration and Tasmania – <\/strong>new Queen Victoria Museum & Art Gallery, Inveresk, Launceston.<\/span><\/p>\n

\u201820th National Craft Acquisition Award\u2019 – <\/em><\/strong>Museum & Art Gallery of the Northern Territory.<\/span><\/p>\n

\u2018Craft from Scratch\u2019 8. Triennial Form & Matters – Australia & Germany <\/em><\/strong>– Centre for Contemporary Craft – Sydney.<\/span><\/p>\n

\u2018Christmas exhibition 200l\u2019 <\/em><\/strong> – Electrum Gallery, London, UK.<\/span><\/p>\n

2000\u00a0<\/span><\/h3>\n

\u2018Craft from Scratch\u2019 8. Triennial Form & Matters – Australia & Germany <\/em> – <\/strong>Museum f\u00fcr Angewandte Kunst, Frankfurt, Germany.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

\u2018Federation – Australian Art and Society 1901-2001\u2019 <\/em><\/strong>– National Gallery of Australia, Canberra, ACT. – travelling nationally.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

1998<\/span><\/h3>\n

\u2018Ecologies of Place and Memory\u2019<\/em> <\/strong>– University Gallery, University of Tasmania, Launceston – \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 curator Bridget Sullivan – Plimsoll Gallery, Centre for the Arts, University of Tasmania, Hobart and several mainland venues.<\/span><\/p>\n

\u2018Armlinks\u2019 – <\/em><\/strong>Darwin Visual Arts Association, touring exhibition, curator Edwin Ride – Araluen Centre, Alice Springs, NT., travelling to all states in Australia.<\/span><\/p>\n

1997<\/span><\/h3>\n

\u2018Circles about the Body\u2019 – <\/em><\/strong>University of Tasmania, Launceston, touring exhibition, curators Ray Norman and Doreen Mellor: Plimsoll Gallery, Hobart and Flinders Art Museum, City Gallery, Adelaide, SA. and several other mainland venues.<\/span><\/p>\n

1996\u00a0<\/span><\/h3>\n

\u00a0\u2018Horizons: Charting a Personal Journey\u2019<\/em><\/strong> – CAST Touring Exhibition to Tasmanian venues, as well as several states in Australia.<\/span><\/p>\n

1995<\/span><\/h3>\n

\u00a0\u2018Crossing Borders: History, Culture and Identity in Australian Contemporary Textile Art\u2019 <\/em><\/strong>– Exhibition touring U.S. museums & galleries from June 1995, curated by Christopher Leitch & Sue Rowley.<\/span><\/p>\n

\u2018Pins & Needles: Identity & Meaning\u2019<\/em><\/strong> – University of Tasmania Touring Exhibition to Silpakorn University, Bangkok, Thailand.<\/span><\/p>\n

1994<\/span><\/h3>\n

\u2018reveal\/conceal\u2019<\/em><\/strong> – Exhibition in conjunction with 3rd International Women Playwrights Conference, Artspace, Adelaide Festival Centre.<\/span><\/p>\n

\u2018Vessels: The Object of Holding\u2019<\/em><\/strong> – Exhibition at Arcoona, Deloraine, Tasmania.<\/span><\/p>\n

Christmas Show<\/em><\/strong> – Electrum Gallery, London.<\/span><\/p>\n

1993<\/span><\/h3>\n

\u2018Griffith Sons & Daughters Exhibition\u2019 <\/em><\/strong>– 10th birthday exhibition, Griffith Regional Art Gallery, New South Wales.<\/span><\/p>\n

\u2018Adornments – Art on an Intimate Scale\u2019 <\/em><\/strong>– CAST Touring Exhibition to Tasmanian & interstate venues, 1993-94.<\/span><\/p>\n

1992<\/span><\/h3>\n

\u2018Schmuckszene 92\u2019<\/em><\/strong> – Internationalen Handwerksmesse, Munich, Germany. Exhibition of selected international jewellers.<\/span><\/p>\n

\u2018Unfamiliar Territory\u2019<\/em><\/strong> – Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide – Curator: Timothy Morrell.<\/span><\/p>\n

\u2018First Australian Contemporary Jewellery Biennial\u2019<\/em><\/strong> – Canberra School of Art Exhibition Gallery – Curator: Anne Brennan.<\/span><\/p>\n

\u2018National Contemporary Jewellery Award\u2019<\/em><\/strong> – Griffith Regional Art Gallery, New South Wales.<\/span><\/p>\n

\u201820 Years of Arts Funding\u2019<\/em><\/strong> – Australia Council Exhibition, Private Members Gallery, Parliament House, Canberra.<\/span><\/p>\n

1991 <\/span><\/h3>\n

\u2018Amulet: Protection in the Modern World\u2019<\/em><\/strong> – Contemporary Jewellery Gallery, Sydney.<\/span><\/p>\n

\u201820th Anniversary Exhibition\u2019<\/em><\/strong> – Electrum Gallery, London.<\/span><\/p>\n

\u2018Contemporary Jewellery & Metalwork: 1977-91\u2019<\/em><\/strong> – Queen Victoria Museum & Art Gallery, Launceston.<\/span><\/p>\n

\u2018Precious & the Body\u2019<\/em><\/strong> – Curated by Ray Norman, University of Tasmania Gallery, Launceston. .<\/span><\/p>\n

\u2018The Body in Question\u2019<\/em><\/strong> – Gallery Two, Launceston. Circular Head Arts Festival, Stanley, Tasmania.<\/span><\/p>\n

\u2018Subject\/Object\u2019<\/em><\/strong> – ARThouse, Launceston.<\/span><\/p>\n

\u2018First Australian Contemporary Jewellery Biennial\u2019 <\/em><\/strong>– Curated by Anne Brennan<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Jam Factory, Adelaide<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Queen Victoria Museum, Launceston.<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Powerhouse Museum, Sydney<\/span><\/p>\n

\u2018Out of the Blue\u2019<\/em><\/strong> – ARThouse event, Launceston.<\/span><\/p>\n

1990<\/span><\/h3>\n

\u2018Glass on Metal\u2019<\/em><\/strong> – Curated by Ray Norman, T.S.I.T. Gallery, Launceston.<\/span><\/p>\n

\u2018Australian Contemporary Jewellery\u2019<\/em><\/strong> – Curated by Peter Timms, Pacific Nations Tour 1990-91.<\/span><\/p>\n

\u2018Letters from you\u2019 – <\/em><\/strong>Cockatoo Gallery – curated by Jane Deeth in collaboration with Penny Mason.<\/span><\/p>\n

\u2018Australian Fashion: The Contemporary Art’<\/em><\/strong> – Curated by Jane de Teliga, Marimura Art Museum, Marajuku, Japan.<\/span><\/p>\n

\u2018Bangles +\u2019<\/em><\/strong> – Cimitiere Gallery, Launceston.<\/span><\/p>\n

1989<\/span><\/h3>\n

\u2018Collaboration\u2019<\/em><\/strong> – Sculptural structure, entitled ‘Sanctuary\u2019, in collaboration with Rory\u00a0 Spence (architect) – Cockatoo Gallery, Launceston, Tasmania.<\/span><\/p>\n

\u2018Australian Fashion: The Contemporary Art\u2019<\/em> <\/strong>– Victoria & Albert Museum, London – Powerhouse Museum, Sydney.<\/span><\/p>\n

\u2018Contemporary Wearables\u2019<\/em><\/strong> – Toowoomba Art Gallery, Queensland.<\/span><\/p>\n

\u2018Spitten Chips\u2019<\/em><\/strong> – Art show & auction for N.S.W. southern forests – Conservation Council of the South-East Region & Canberra, Gorman House.<\/span><\/p>\n

\u2018Delineations – exploring drawing\u2019<\/em><\/strong> – Ivan Dougherty Gallery, Sydney.<\/span><\/p>\n

1988<\/span><\/h3>\n

\u2018Imagination and Metaphor\u2019 <\/em><\/strong>– Curated by Patricia Anderson\u00a0 – Griffith Regional Art Gallery, N.S.W.\u00a0 WaggaWagga City Art Gallery, N.S.W.<\/span><\/p>\n

\u2018Contemporary Jewellery – The Australian Experience 1977-88\u2019 <\/em><\/strong>– Contemporary Jewellery Gallery, Sydney.<\/span><\/p>\n

\u2018Australian Decorative Arts – 1788-1988\u2019<\/em><\/strong> – Australian National Gallery, Canberra. Historical Survey Exhibition.<\/span><\/p>\n

1987<\/span><\/h3>\n

Christmas Show<\/em><\/strong> – Electrum Gallery, London.<\/span><\/p>\n

1985<\/span><\/h3>\n

\u2018Worn Issues?\u2019<\/em><\/strong> – N.S.W. Regional Art Galleries. Travelling Exhibition.<\/span><\/p>\n

\u2018Opening Show\u2019<\/em><\/strong> – Contemporary Jewellery Gallery, Sydney.<\/span><\/p>\n

\u2018Environmental Concerns\u2019<\/em><\/strong> – Crafts Council Gallery, Sydney.<\/span><\/p>\n

\u2018Stuart Devlin Award\u2019<\/em><\/strong> – Meat Market, Melbourne.<\/span><\/p>\n

1984<\/span><\/h3>\n

\u00a0\u2018Worn Issues?\u2019<\/em><\/strong>\u00a0 – Jam Factory, Adelaide. – Makers Mark, Melbourne.\u00a0 – Aladdin Gallery,Sydney.\u00a0 – Crafts Council Gallery, Canberra.<\/span><\/p>\n

\u2018Australian Crafts 84\u2019<\/em><\/strong> – Meat Market, Melbourne.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

\u2018Australian Images\u2019<\/em><\/strong> – Curated by Sue Forster, Crafts Council of N.S.W. Travelling Exhibition.<\/span><\/p>\n

\u2018Cross Currents\u2019<\/em><\/strong> – Museum of Applied Arts & Sciences, Sydney. (Travelling to all States and New Zealand).<\/span><\/p>\n

1983<\/span><\/h3>\n

\u2018New Work\u2019<\/em><\/strong> – Curated by Peter Emmett, Crafts Council Gallery, Sydney.<\/span><\/p>\n

Christmas Show<\/em><\/strong> – Crafts Council Gallery, Sydney.<\/span><\/p>\n

\u2018Australian Decorative Arts: The Past Ten Years\u2019<\/em><\/strong> – Australian National Gallery, Canberra.Historical Survey Exhibition.<\/span><\/p>\n

1982<\/span><\/h3>\n

\u2018Golden Glory\u2019<\/em><\/strong> – Royal Crescent Hotel, Bath.<\/span><\/p>\n

\u2018A Review of Present Art Enamelling\u2019<\/em><\/strong> – Rye.<\/span><\/p>\n

\u00a0\u2018Enamels Today\u2019<\/em><\/strong> – Goldsmiths Hall, London.<\/span><\/p>\n

1981<\/span><\/h3>\n

\u2018Ex-Middlesex Polytechnic Students\u2019<\/em><\/strong> – Tony Laws Gallery, London.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/span><\/p>\n

1981<\/span><\/h3>\n

\u201810th Anniversary\u2019<\/em><\/strong> – Electrum Gallery, London.<\/span><\/p>\n

\u2018Dazzle\u2019<\/em><\/strong> – National Theatre, London.\u00a0 Clarendon Gallery, London.<\/span><\/p>\n

1980\u00a0<\/span><\/h3>\n

\u00a0\u2018Loot 80\u2019<\/em><\/strong> – Goldsmith’s Hall, London.<\/span><\/p>\n

1979<\/span><\/h3>\n

\u2018Loot\u2019<\/em><\/strong>– Goldsmith’s Hall, London, then travelling to Los Angeles, USA and Australia.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

1978<\/span><\/h3>\n

\u00a0\u2018Synthetic Jewellery\u2019<\/em><\/strong> – East Midlands Arts Travelling Exhibition.<\/span><\/p>\n

1978 on<\/span><\/h3>\n

Electrum Gallery, London. Work on permanent display.<\/span><\/p>\n

1978-82<\/span><\/h3>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Victoria & Albert Museum Craft Shop. Work on permanent display.<\/span><\/p>\n

1978-80\u00a0<\/span><\/h3>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tony Laws Gallery, London. Work on permanent display.<\/span><\/p>\n

1970-74\u00a0<\/span><\/h3>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Portobello Road Market Stall \u2013 selling my own work<\/span><\/p>\n

 <\/p>\n

AWARDS\/GRANTS\/COMMISSIONS<\/strong><\/span><\/h3>\n

\u00a0<\/strong><\/span><\/p>\n

2013\u00a0\u00a0\u00a0 <\/strong><\/span><\/h3>\n

Commissioned by Elizabeth Bungay-Burbidge to make a neckpiece from Tasmanian Blue Gum pods – October<\/span><\/p>\n

Commissioned by Boyd to make neckpiece from Rainbow lorikeet feathers – November<\/span><\/p>\n

2011\u00a0<\/span><\/h3>\n

Commission by arts@work to install artwork at the Holman Clinic, Launceston General Hospital \u2013 called \u2018Das Lied von der Erde Mandala\u2019 \u2013 365 Opfergabe \u2013 Song of the Earth Mandala \u2013 365 Offerings (homage to Gustav Mahler symphony) – March<\/span><\/p>\n

2002<\/span><\/h3>\n

Commission by the University of Tasmania, North-West Centre to install ephemeral work called eternal echoes.<\/em><\/strong><\/span><\/p>\n

1998<\/span><\/h3>\n

Part recipient of Artists grant for Canberra National Sculpture Forum 1998 – Australia Council funded.<\/span><\/p>\n

Arts Tasmania – funds for accommodation and partial travel to Canberra National Sculpture Forum.<\/span><\/p>\n

Artists grant for Sculpture by the Sea, Tasman Peninsula – a SOCOG event.<\/span><\/p>\n

Artists grant for Gasworks Outdoor Sculpture Exhibition 1998 – funded by City of Port Phillip, Arts Victoria and Vic Health.<\/span><\/p>\n

1997<\/span><\/h3>\n

Recipient of Artist-in-Residence Grant at Darwin Visual Arts Association – Australia Council and Greening Australia<\/span><\/p>\n

1995\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Part recipient of Artists Grant for contribution towards Secret Places<\/em> catalogue – Pat Corrigan Artist Grant, NAVA.<\/span><\/p>\n

1992<\/span><\/h3>\n

Part recipient of Project Grant for Secret Places, <\/em>collaborative work with poet, photographer & composer – Multi-Artform Panel, Arts Tasmania.<\/span><\/p>\n

National Contemporary Jewellery Award: Section II: \u2018Jewellery Using Non-precious Materials\u2019 – Griffith Regional Art Gallery, New South Wales.<\/span><\/p>\n

1991\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Grant for permanent site specific installation at Waverley Flora Park, Hobart – Tasmanian Arts Council.<\/span><\/p>\n

Grant for video documentation by David Male of installation\/participation work at University of Tasmania’s Centre for the Arts – Tasmanian Arts Advisory Board.<\/span><\/p>\n

1990 \u00a0\u00a0 <\/span><\/h3>\n

Project Grant for collaborative work – Visual Arts & Crafts Board of Australia Council<\/span><\/p>\n

1988\u00a0\u00a0\u00a0 <\/span><\/h3>\n

‘Transience, Place Memories’ Exhibition Grant – Visual Arts & Crafts Board of Australia Council.<\/span><\/p>\n

1987\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Craftsperson-in-Residence – School of Art, Tasmanian State Institute of Technology,\u00a0 Launceston, Tasmania.<\/span><\/p>\n

1984\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Warringah Art Prize, NSW – Highly Commended, Open Section.<\/span><\/p>\n

1978-79<\/span><\/h4>\n

New Craftsperson Grant – Crafts Council of Great Britain.<\/span><\/p>\n

1976\u00a0\u00a0\u00a0 <\/span><\/h3>\n

First Prize – Young Jewellery Designer Award, London.<\/span><\/p>\n

1975\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Special Prize – Young Jewellery Designer Award, London.<\/span><\/p>\n

 <\/p>\n

COLLECTIONS<\/strong><\/span><\/h3>\n

 <\/p>\n

\u00a0National Gallery of Australia, Canberra.<\/span><\/p>\n

National Gallery of Victoria, Melbourne<\/span><\/p>\n

Art Gallery of Western Australia, Perth.<\/span><\/p>\n

Art Gallery of South Australia, Adelaide.<\/span><\/p>\n

Museum and Art Gallery of the Northern Territory, Darwin, NT.<\/span><\/p>\n

Queen Victoria Museum & Art Gallery, Launceston, Tasmania.<\/span><\/p>\n

Museum of Applied Arts & Sciences, Sydney, N.S.W.<\/span><\/p>\n

Box Hill Town Hall Collection, Melbourne, Victoria.<\/span><\/p>\n

Orange Regional Gallery, Orange, N.S.W.<\/span><\/p>\n

Griffith Regional Gallery, Griffith, N.S.W.<\/span><\/p>\n

Helen Drutt English private collection, Philadelphia, U.S.<\/span><\/p>\n

Racine Art Museum (Racine, Wisconsin, USA)<\/span><\/p>\n

Museum of Fine Arts, Houston, Texas, USA
\n<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0University of Canberra, Canberra, ACT<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0Private collections <\/span><\/p>\n

PUBLICATIONS<\/strong><\/span>
\n<\/strong><\/span><\/h3>\n

 <\/p>\n

2016<\/span><\/strong>\u00a0\u00a0\u00a0
\n<\/strong><\/em><\/span><\/p>\n

“Barbara Cartlidge and Electrum Gallery – A Passion for Jewellery” – <\/strong><\/em>Beatriz Chadour-Sampson and Janice Hosegood – pages 176, 177. – published by arnoldsche art publishers.<\/span><\/p>\n

“Word Migrants”<\/strong>\u00a0\u00a0<\/em>by Hazel Smith – book cover – “Veil of Mourning” 1989<\/span><\/p>\n

2014<\/strong><\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0“Place and Adornment”<\/em><\/strong>– A history of contemporary Jewellery in Australia and N Z, – Damian Skinner and Kevin Murray – pages 122, 123.<\/span><\/p>\n

2013<\/strong><\/span><\/h3>\n

\u201cHome & Hosed\u201d<\/strong><\/em>exhibition at Hazelhurst Gallery, Sydney \u2013 curated by Liz Nowell \u2013 catalogue Hazelhurst Gallery.<\/span><\/p>\n

2009\u00a0\u00a0\u00a0\u00a0 <\/span><\/h3>\n

\u2018Bravura\u2019 21st<\/sup> Century Australian Craft \u2013 <\/em><\/strong>catalogue, Art Gallery of South Australia, Curator Robert Reason.<\/span><\/p>\n

2007\u00a0 <\/span><\/h3>\n

\u2018Ornament as Art\u2019 Avant-Garde Jewelry from the Helen Williams Drutt Collection, <\/em><\/strong>Publication from the Museum of Fine Arts, Houston, USA \u2013 curator – Cindi Strauss<\/span><\/p>\n

2006\u00a0\u00a0\u00a0<\/span><\/h3>\n

\u2018the crafted object 1960s-80\u2019s\u2019 \u2013 <\/em><\/strong>National Gallery of Australia \u2013 curated by Robert Bell, Senior Curator, Decorative Arts and Design \u2013 26 August to 10 December.<\/span><\/p>\n

2005\u00a0\u00a0\u00a0 <\/span><\/h3>\n

New year dawn of inspiration <\/em><\/strong>– Examiner, Spectrum Arts, 1st January, 2005 – Jo McIntyre, p.50<\/span><\/p>\n

2004\u00a0\u00a0\u00a0 <\/span><\/h3>\n

\u2018Five Mandalas – The Web of Life\u2019 <\/em><\/strong>– Murcury, Hobart, 22April, 2004<\/span><\/p>\n

\u2018Five Mandalas – The Web of Life\u2019 – <\/em><\/strong>Advocate, Burnie, 20April 2004<\/span><\/p>\n

\u2018Five Mandalas – The Web of Life\u2019 <\/em><\/strong> – Exhibition Brochure<\/span><\/p>\n

2003\u00a0\u00a0\u00a0 <\/span><\/h3>\n

\u2018Future Perfect\u2019 – <\/em><\/strong>catalogue of project co-ordinated by Dick Bett and Gerard Castles bringing together writers, thinkers and visual artists responding to the Forestry debate in Tasmania and particularly the unwelcomed sponsorship of Forestry Tasmania with 10 Days on the Island. <\/em><\/span><\/p>\n

\u2018wild nature\u2019 – <\/em><\/strong>Object magazine – Stephanie Radok – p.76-77<\/span><\/p>\n

\u2018wild nature\u2019 – <\/em><\/strong>Artlink, vol 23 # l – David Kerr – p.96<\/span><\/p>\n

2002\u00a0\u00a0\u00a0 <\/span><\/h3>\n

\u2018edible lei\u2019 Project <\/em><\/strong>– Adelaide Festival of the Arts 2002 – <\/strong>Festival brochure.<\/span><\/p>\n

\u2018edible lei\u2019 Project – <\/em><\/strong>Adelaide Festival of the Arts 2002 – \u2018Object\u2019<\/em><\/strong> magazine, issue 40, pages 38-39 – Gay Bilson.<\/span><\/p>\n

\u2018edible lei\u2019 <\/em><\/strong>– Examiner, Launceston, February 25 – page 16 – Carol Marshall.<\/span><\/p>\n

Material Witness – <\/em><\/strong>catalogue, 15th Tamworth Fibre Textile Biennial. <\/strong>curator, Robyn Daw.<\/span><\/p>\n

Material Witness – <\/em><\/strong>The Northern Daily Leader – <\/em>Tamworth, – p. 20, Megan Dixon.<\/span><\/p>\n

eternal echoes – <\/em><\/strong>Advocate, <\/em>Burnie, May 14th, page 14.<\/span><\/p>\n

\u00a0eternal echoes – <\/em><\/strong>Advocate, Burnie, <\/em>May 2nd, page 5.<\/span><\/p>\n

DarkLight <\/em><\/strong>– Examiner, Launceston, Spectrum arts – June 29 – page 33 – Martin Stevenson<\/span><\/p>\n

Federation; Australian Art and Society 1901 – 2001 – <\/em><\/strong>Examiner, Launceston, Spectrum arts, May 11 – page 36 – Alyssa Curtayne.<\/span><\/p>\n

wild nature in contemporary Australian Art and Craft – <\/em><\/strong>catalogue by Margot Osborne with Jam Factory Contemporary Craft & Design.<\/span><\/p>\n

wild nature <\/em><\/strong>– The Advetiser, Adelaide, Friday November 8, 2002., page 71 – Noris Ioannou<\/span><\/p>\n

2000\u00a0\u00a0\u00a0 <\/span><\/h3>\n

craft from scratch – <\/em><\/strong>catalogue 8. Triennial Form & Matters – Australia & Germany – Art Gallery of South Australia & Museum fur Angewandte Kunst, Frankfurt, Germany.<\/span><\/p>\n

keys round her tongue – <\/em><\/strong>Hazel Smith – short prose, poems and performance texts, published by Soma Publications, p.20 – 25.<\/span><\/p>\n

Object<\/em><\/strong>, no.4\/00, International Craft Triennale, <\/em>Christopher Menz – p.19.<\/span><\/p>\n

Artlink, <\/em>vol.20, no.3 – \u2018Social Ecology for a sustainable Future\u2019 article, photograph, p.50.<\/span><\/p>\n

Examiner – <\/em>report on work in Frankfurt exhibition – Sarah Rhodes – 20th September.<\/span><\/p>\n

\u2018Federation – Australian Art and Society 1901-2001\u2019 <\/em><\/strong>– exhibition catalogue, National Gallery of Australia, Canberra, ACT.<\/span><\/p>\n

1999\u00a0 <\/span><\/h3>\n

Seeing and Remembering<\/em><\/strong> – Examiner – <\/em>exhibition review by Jo McIntyre, October 9th, p.26.<\/span><\/p>\n

1998\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Armlinks<\/em><\/strong> – <\/em>exhibition catalogue of touring exhibition of arm adornments by Aboriginal and non-aboriginal artist, curated by Edwin Ride, published by Darwin Visual Arts Association.<\/span><\/p>\n

The Canberra Times – <\/em>\u2018Healing Mandala – 365 Offerings\u2019 – Friday 17th April, p.19<\/span><\/p>\n

Canberra National Sculpture Forum \u201898 <\/em><\/strong>catalogue<\/strong> – published by the Canberra National Sculpture Forum Committee.<\/span><\/p>\n

Contemporary Jewellery in Australia and New Zealand <\/em><\/strong>– by Patricia Anderson – published by Craftsman House.<\/span><\/p>\n

Sydney Morning Herald – <\/em>review of \u2018Contemporary Jewellery in Australia and NZ\u2019 – 12th December – John McPhee.<\/span><\/p>\n

Ecologies of Place and Memory<\/em><\/strong> – <\/em>exhibition catalogue published by the University of Tasmania\/CAST Touring as part of \u2018Questioning the Practice\u2019 <\/em> project funded under the Australia Council\u2019s Contemporary Craft Curator Programme, curated by Bridget Sullivan.<\/span><\/p>\n

The Examiner – <\/em>review of \u2018Sculptures by the Sea\u2019 installations – 7th November, p.30.<\/span><\/p>\n

1997\u00a0\u00a0\u00a0\u00a0 <\/strong><\/span><\/h3>\n

Periphery<\/em><\/strong>, <\/em>issue no.32 – Anneke Silver, \u2018<\/strong>Environment, Spirituality and the Process of Art Making\u2019 (article on, and interview with, Sieglinde Karl), pp.3l-33.<\/span><\/p>\n

Untitled<\/em>, issue 2, March\/April l997 (Arts magazine for the Visual and Performing Arts in the Northern Territory) – Edwin Ride, commentary on forthcoming Darwin residency, pp.6-7.<\/span><\/p>\n

improvisation hypermedia and the arts since 1945 – <\/em><\/strong>hazel smith and roger dean – harwood academic publishers – p.116-7, 168, 186.<\/span><\/p>\n

1996\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Secret Places<\/em><\/strong> – publication accompaying collaborative installation. First showing at Queen Victoria Museum & Art Gallery, Launceston.<\/span><\/p>\n

Island<\/em>, no.67 – Victoria Hammond, \u2018Voices from Under the Earth: Hazel Smith and Sieglinde Karl\u2019, related to \u2018Secret Places\u2019, pp.123-30.<\/span><\/p>\n

Artlink<\/em>, vol.16, no.4 – Jane Deeth, review of \u2018Secret Places\u2019, pp.80-82.<\/span><\/p>\n

1995\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Crossing Borders<\/em><\/strong> – catalogue of exhibition touring the U.S. from June 1995.<\/span><\/p>\n

Who\u2019s Who of Australian Visual Artists<\/em>, Thorpe Publishers\/National Association for the Visual Arts<\/span><\/p>\n

In<\/em><\/strong>teraction<\/strong><\/em> – catalogue of Launceston Sculpture Project<\/span><\/p>\n

Pins & Needles: Identity & Meaning <\/em><\/strong>– catalogue of University of Tasmania Touring Exhibition to Silpakorn University, Bangkok, Thailand.<\/span><\/p>\n

Jewelry of Our Time: Art, Ornament and Obsession<\/em><\/strong>, Helen W.Drutt English & Peter Dormer, Thames & Hudson, London.<\/span><\/p>\n

1994\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Works used for images on CD cover of Poet Without Language<\/em><\/strong> by Hazel Smith, Rufus Records.<\/span><\/p>\n

1993\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Oz Arts,<\/em> October 1993 – Helen Ashton, article on the collection of Helen Drutt English, pp.26-27.<\/span><\/p>\n

Explore the Art Trail <\/em>– poster \/ information sheet promoting regional galleries of NSW & ACT, Regional Galleries Association, NSW.<\/span><\/p>\n

Artlink<\/em>, vol.13, no.2 – Deborah Wardrop, \u2018A Shining Mirror\u2019, review of \u2018To The Surface\u2019 exhibition, Hobart, pp.83-84.<\/span><\/p>\n

Griffith Sons & Daughters Exhibition<\/em> – catalogue of 10th birthday exhibition, Griffith Regional Art Gallery, New South Wales.<\/span><\/p>\n

Adornments: Art on an Intimate Scale<\/em> – leaflet of CAST Touring Exhibition to Tasmanian venues.<\/span><\/p>\n

1992\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Unfamiliar Territory<\/em> <\/strong>– catalogue of Adelaide Biennial of Australian Art, edited by Timothy Morrell; essay by Anne Brennan<\/span><\/p>\n

Artlink<\/em>, vol.11, no.4 – Chris Downie, p.89 – Gerry Wedd, p.100 – Ian McLean, p.109\u00a0<\/span><\/p>\n

Artlink<\/em>, vol.12, no.1 – Stephanie Radok, p.77<\/span><\/p>\n

The Weekend Australian<\/em>, February 25th.- March 1st. – Arts Review, Peter Ward.<\/span><\/p>\n

Art Gallery of South Australia News<\/em>, March \/ April.<\/span><\/p>\n

The Examiner – <\/em>August 26th – \u2018First National Jewellery Award\u2019 <\/em>– Danielle Blewett.<\/span><\/p>\n

Our Common Ground –<\/em> published by the Australian Institute of Landscape Architects<\/span><\/p>\n

1991\u00a0\u00a0\u00a0 <\/span><\/h3>\n

The Mercury<\/em>, Hobart, March 20th. – Nick Clark.<\/span><\/p>\n

Munchner Abendzeitung <\/em> – Munich, Germany, l6th March – \u2018Schmuckszene 91\u2019<\/em><\/span><\/p>\n

Sydney Morning Herald<\/em>, April – Geraldine O’Brien.<\/span><\/p>\n

Artlink<\/em>, vol.11, no.3 – Katie Lavers.<\/span><\/p>\n

The Mercury<\/em>, July 6th. – Rosina Beaumont.<\/span><\/p>\n

\u00a0The Examiner<\/em>, October 16th. – Dorea Richards<\/span><\/p>\n

The Examiner<\/em>, November 27th. – Christene Middap.<\/span><\/p>\n

1990\u00a0\u00a0\u00a0 <\/span><\/h3>\n

TRANCEfigureD SPIRIT<\/em> <\/strong>– publication of collaborative installation\/performance work, Launceston. October.<\/span><\/p>\n

Art Listing<\/em>, Launceston, Issue No.23, October\/November – Katie Lavers.<\/span><\/p>\n

The Examiner<\/em>, Launceston, October 24th.<\/span><\/p>\n

The Examiner<\/em>, Launceston, October 17th. – Dorea Richards.<\/span><\/p>\n

The Examiner, <\/em>Launceston, June 6th – \u2018On the Spot\u2019.<\/span><\/p>\n

1989\u00a0\u00a0\u00a0 <\/span><\/h3>\n

The Examiner<\/em>, Launceston, June 15th.<\/span><\/p>\n

Follow Me<\/em>, July, p.76.<\/span><\/p>\n

\u00a0Australian Fashion: The Contemporary Art<\/em><\/strong>\u00a0 – exhibition catalogue, p.16.<\/span><\/p>\n

Vogue Australia<\/em>, October issue – review of \u2018Australian Fashion: The Contemporary Art\u2019, p56.<\/span><\/p>\n

TNT<\/em>, Issue 301 – Frances Martin, review of \u2018Australian Fashion: The Contemporary Art\u2019, p.13.<\/span><\/p>\n

The Mercury<\/em>, June 22nd. – Alison Cook, review of \u2018Australian Fashion: The Contemporary Art\u2019.<\/span><\/p>\n

Sunday News<\/em>, N.Z. June 18th. – David Hartnell, review of \u2018Australian Fashion: The Contemporary Art\u2019.<\/span><\/p>\n

Daily Telegraph<\/em>, July 13th. – Alison Cook, review of \u2018Australian Fashion: The Contemporary Art\u2019.<\/span><\/p>\n

Australian Business<\/em>, May 24th. – Marie Geissler, review of \u2018Australian Fashion: The Contemporary Art\u2019, p.105.<\/span><\/p>\n

Lemel<\/em>, J.M.G.A. newsletter. March. – Cover photo.<\/span><\/p>\n

Jewellery – Australia Now<\/em>, Craft Australia series. – David Walker, p.60.<\/span><\/p>\n

1988 \u00a0\u00a0 <\/span><\/h3>\n

Imagination & Metaphor<\/em>,<\/strong> exhibition catalogue, Griffith Regional Art Gallery, NSW.<\/span><\/p>\n

Australian National Gallery Association News<\/em>, November\/December 1988, p.8-9.<\/span><\/p>\n

Australian Decorative Arts 1900-1985<\/em><\/strong>, exhibition catalogue, Australian National Gallery, Canberra, November – January 1989.<\/span><\/p>\n

Transience, Place, Memories<\/strong><\/em>,<\/strong> exhibition\/installation poster\/documentation, November.<\/span><\/p>\n

The Mercury<\/em>, Hobart, December 3rd. – Miranda Morris-Nunn.<\/span><\/p>\n

Contemporary Jewellery:The Australian Experience 1977-1987<\/em><\/strong>, Patricia Anderson, Millenium Books.<\/span><\/p>\n

Lemel<\/em>, J.M.G.A. newsletter. June. – Work illustrated.<\/span><\/p>\n

Crafts Council Tasmania Newsletter <\/em>– April – Tasmanian Marks & Relics <\/em>– review<\/span><\/p>\n

1987\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Tasmanian Marks & Relics<\/em><\/strong>, exhibition\/installation catalogue, November.<\/span><\/p>\n

The Mercury<\/em>, Hobart, July 18th. – Rosina Beaumont.<\/span><\/p>\n

The Mercury<\/em>, Hobart, November 7th. – Jane Deeth.<\/span><\/p>\n

The Examiner<\/em>, Launceston, June 23rd. – Todd Harper<\/span><\/p>\n

The Examiner<\/em>, Launceston, November 5th. – Trish Armstrong.<\/span><\/p>\n

Lemel<\/em>, J.M.G.A. newsletter. December. – Jane Deeth.<\/span><\/p>\n

1986\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Craft Australia Yearbook<\/em><\/strong> – Helge Larsen, p.40.<\/span><\/p>\n

1985\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Environmental Concerns<\/em><\/strong>, exhibition catalogue, Crafts Council of NSW.<\/span><\/p>\n

Stuart Devlin Award<\/em><\/strong>, exhibition catalogue, Meat Market, Melbourne.<\/span><\/p>\n

Jewellery Making Manual<\/em><\/strong>, Sylvia Wicks, MacDonald Publishers.<\/span><\/p>\n

Harper’s Bazaar Australia<\/em>, October.<\/span><\/p>\n

1984\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Worn Issues?<\/em><\/strong>, exhibition catalogue.<\/span><\/p>\n

Cross Currents<\/em><\/strong>, exhibition catalogue, Powerhouse Museum, Sydney.<\/span><\/p>\n

Sun Herald<\/em>, May 27th. – Shan Small.<\/span><\/p>\n

Craft Australia Yearbook<\/em><\/strong> – Jeanne Keefer, p.166.<\/span><\/p>\n

Sydney Morning Herald<\/em>, Good Living, September 18th. – Robyn Ferrall.<\/span><\/p>\n

Sydney Morning Herald<\/em>, October 9th. – Robyn Ferrall.<\/span><\/p>\n

Handmade in Australia<\/em><\/span><\/p>\n

Canberra Times<\/em>, October 22nd. – Nola Anderson.<\/span><\/p>\n

Arts National<\/em>, December – Helge Larsen, pp78-80.<\/span><\/p>\n

1983\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Craft Australia<\/em>, Spring 3 – Dr.Peter Emmett, p.97.<\/span><\/p>\n

1982\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Design<\/em>, London, April, p.21.<\/span><\/p>\n

1981\u00a0\u00a0\u00a0 <\/span><\/h3>\n

10th Anniversary – Electrum Gallery<\/em><\/strong>, exhibition catalogue, Electrum Gallery, London.<\/span><\/p>\n

Crafts<\/em>, London, September\/October – Belinda Burt, p.37.<\/span><\/p>\n

Arts Review<\/em>, London, September – Peter Dormer.<\/span><\/p>\n

1980\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Loot 80<\/em>,<\/strong> exhibition catalogue, Goldsmith’s Hall, London.<\/span><\/p>\n

1979\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Loot<\/em><\/strong>, exhibition catalogue, Goldsmith’s Hall, London.<\/span><\/p>\n

1976\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Craft<\/em>, London, September\/October.<\/span><\/p>\n

North Circular<\/em>, London, October 7th.<\/span><\/p>\n

British Jeweller<\/em>, London, November.<\/span><\/p>\n

1975\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Retail Jeweller<\/em>, London, November 13th.<\/span><\/p>\n

British Jeweller & Watch Buyer<\/em>, London, December.<\/span><\/p>\n

Design<\/em>, London, December.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

TEACHING EXPERIENCE<\/strong><\/span><\/h3>\n

2008\u00a0\u00a0 <\/span><\/h3>\n

External Assessor for Masters student \u2013 University of South Australia, Adelaide<\/span><\/p>\n

2007\u00a0\u00a0 <\/span><\/h3>\n

External Assessor for Masters student \u2013 University of South Australia, Adelaide<\/span><\/p>\n

2003\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Mentorship to artist Denise Robinson.<\/span><\/p>\n

2002\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Led 4 hour workshop\/discussion in grounds of Cataract Gorge, Launceston, with students from Hobart School of Art, Raymond Arnold\u2019s course on Art, Natural Environment and Wilderness, Field Trip 3.<\/span><\/p>\n

2000\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Led 1 day forum\/workshop in Textile Studio, School of Art, University of Tasmania, Launceston.<\/span><\/p>\n

1999\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Led 2 hour discussion on work relating to \u2018Art and Wilderness\u2019 with students from Hobart School of Art, Raymond Arnold\u2019s course.<\/span><\/p>\n

1995\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Presentation for Professional Practice Seminar \u2018Showing and Selling\u2019, School of Art, University of Tasmania, Launceston.<\/span><\/p>\n

1992\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Job-share lectureship, Jewellery & Metalsmithing Department, University of Tasmania.<\/span><\/p>\n

One Day Workshop, Jewellery Department, Sydney College of the Arts, University of Sydney.<\/span><\/p>\n

1991\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Part-time Tutor, Jewellery & Metalsmithing Department, University of Tasmania.<\/span><\/p>\n

1989\u00a0\u00a0\u00a0 <\/span><\/h3>\n

External Assessor, School of Art, T.S.I.T., Launceston, Tasmania.<\/span><\/p>\n

1987-88 <\/span><\/h3>\n

Part-time Tutor, Jewellery Department, Randwick College of TAFE, Sydney.<\/span><\/p>\n

1985\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Part-time Tutor, Jewellery Department, Randwick College of TAFE, Sydney.<\/span><\/p>\n

Part-time Tutor, Jewellery Department, Sydney College of the Arts.<\/span><\/p>\n

1983-84\u00a0 <\/span><\/h3>\n

Part-time Tutor, Jewellery Department, Sydney College of the Arts<\/span><\/p>\n

\u00a0<\/strong><\/span><\/p>\n

OTHER ACTIVITIES<\/strong><\/span><\/h3>\n

2003\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Forum discussion with Peter Timms at Queen Victoria Museum & Art Gallery as part of the Association of Australian Gallery Guiding Organisations14th National Biennial Conference\u2018Evolving Landscape\u2019.<\/span><\/p>\n

2002\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Queen Victoria Museum & Art Gallery – Search Conference – Launceston.<\/span><\/p>\n

2001\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Mountain Festival Art\/Environment Forum, Hobart.<\/span><\/p>\n

1998\u00a0\u00a0\u00a0 <\/span><\/h3>\n

\u2018Art in the Landscape\u2019 – 5 day workshop for the Text-Isle Regional Fibre Forum, Friends School, Hobart.\u00a0 <\/span><\/p>\n

Artforum, National Botanic Gardens, Canberra.<\/span><\/p>\n

1997\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Artist in Residence (3 months), Darwin, funded by Australia Council through Darwin Visual Arts Association, and Greening Australia.<\/span><\/p>\n

Artforum, School of Art, University of the Northern Territory, Darwin.<\/span><\/p>\n

Contributor to Professional Practice Seminar, School of Art, University of Tasmania, Launceston, Tasmania.<\/span><\/p>\n

Shibori Workshop – tutor Ruth Hadlow – 2 day plant dying – 19th & 20th April – Launceston Arts Council, held at University of Tasmania, Launceston.<\/span><\/p>\n

1996\u00a0\u00a0 <\/span><\/h3>\n

Artforum, for \u2018Confluence\u2019, visual art component of Mildura Arts Festival.<\/span><\/p>\n

Led performance workshop for ArtHouse Holiday Programme, Launceston.<\/span><\/p>\n

Attended basketmaking workshop led by Jane Sauer, School of Art, University of Tasmania.<\/span><\/p>\n

Invited participant, \u2018Crossovers\u2019 collaborative workshops and seminar, School of Art, Launceston.Lecture, Textile Department, School of Art, University of Tasmania, Launceston.<\/span><\/p>\n

Lecture, Riawanna Aboriginal Study Centre, University of Tasmania, Launceston.<\/span><\/p>\n

Contributor to Professional Practice Seminar, School of Art, University of Tasmania, Launceston, Tasmania.<\/span><\/p>\n

1995\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Attended Butoh workshop led by Yumi Umiumare, Launceston.<\/span><\/p>\n

1993\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Attended basketmaking workshop led by Gwen Egg & Ruth Hadlow, Hobart.<\/span><\/p>\n

Attended basketmaking workshop led by Nalda Searles, Fortescue Bay, Tasmania.<\/span><\/p>\n

1992\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Artforum lecture, Canberra School of Art.<\/span><\/p>\n

Lecture, Sydney College of the Arts, University of Sydney.<\/span><\/p>\n

Lecture, Randwick College of TAFE, Sydney.<\/span><\/p>\n

Artforum, University of Tasmania, Launceston.<\/span><\/p>\n

Ikebana (Japanese art of flower arranging) course, Ikebana Centre, Sydney<\/span><\/p>\n

1991-93\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Member of Visual Arts & Crafts Panel of Tasmanian Arts Advisory Board.<\/span><\/p>\n

1990\u00a0\u00a0 <\/span><\/h3>\n

Led two day workshop at JMGA Conference, Sydney.<\/span><\/p>\n

Led one day jewellery workshop, Jewellery & Metalsmithing Department, TSIT, Launceston, Tasmania.<\/span><\/p>\n

Book Cover design for sound-text poet, Hazel Smith: Abstractly Represented,<\/em> Butterfly Books, 1991.<\/span><\/p>\n

1989-91\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Committee member of \u2018ARThouse\u2019 Contemporary Art Space.<\/span><\/p>\n

1987\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Artist in Residence, School of Art, Tasmanian State Institute of Technology (now University of Tasmania), Launceston, Tasmania.<\/span><\/p>\n

1985\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Led jewellery workshop, Powerhouse Museum, Sydney.<\/span><\/p>\n

Led \u2018Worn Issues\u2019 jewellery workshop – Wagga Wagga Regional Gallery, NSW.<\/span><\/p>\n

Led \u2018Worn Issues\u2019 jewellery workshop – Orange Civic Centre Gallery, NSW.<\/span><\/p>\n

1984\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Attended \u2018Enamelling\u2019 workshop at Sturt Workshops – Mittagong – initiated by Ray Norman.<\/span><\/p>\n

1983\u00a0\u00a0\u00a0 <\/span><\/h3>\n

Attended \u2018Iron Workshop\u2019 at Sturt Workshops – Mittagong – initiated by Ray Norman.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Artist Statement<\/strong><\/span><\/h3>\n

\u00a0<\/span><\/p>\n

I call myself an Earth artist because my work is primarily concerned with a reverence for and an honouring of the land. My practice ranges from works for the body to transitory site-specific offerings in the landscape, gallery installations and other sculptural pieces. The works are concerned with nature, psychological states of mind and cycles of existence and are made from predominantly natural materials.<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

This allows me to speak about my ecological commitment, as well as creating work which \u2018touches the earth lightly\u2019. The wearers\/viewers are reminded not only of the beauty of the natural world, but also of their symbiotic relationship with it.<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

The natural world is for me a site of healing and solace, as well as spiritual renewal.<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

My work is about absence as much as presence, about memory and loss<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about dreams and mystery<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about vulnerability and protection<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about spirituality and fragility<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about expanding existing boundaries<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 about longing and belonging<\/em><\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 but mostly about heart and soul.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

SIEGLINDE KARL-SPENCE\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 email: karl.spence@optusnet.com.au   1943\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Born Lahr, Germany. 1953\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Moved to Australia. Settled in Griffith, N.S.W. 1962-65\u00a0\u00a0\u00a0\u00a0 Worked and travelled in New Zealand, Europe and England. 1968\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Moved to England. 1974-78\u00a0\u00a0\u00a0\u00a0 Studied Jewellery at Middlesex Polytechnic, London, England. 1982\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Returned to Australia. 2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Based in Tasmania […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":[],"_links":{"self":[{"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=\/wp\/v2\/pages\/273"}],"collection":[{"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=273"}],"version-history":[{"count":65,"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=\/wp\/v2\/pages\/273\/revisions"}],"predecessor-version":[{"id":1262,"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=\/wp\/v2\/pages\/273\/revisions\/1262"}],"wp:attachment":[{"href":"http:\/\/sieglindekarl-spence.com.au\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}