New locations for street gallery series

You might have caught the first installation of the Street Gallery Fremantle Project on William Street earlier this month.

Partnered with Artsource, the art installations aim to create attractive spaces for potential tenants whilst showcasing Fremantle’s local creatives

These beautiful displays have been spread across new locations in High Street and William Street.

We’ve put a list together to easily find these art pieces around Fremantle.

For more information on the Street Gallery Fremantle Project click here.

Working individually and together, Arif Sataf and Audrey Fernandes-Satar’s collaborate to explore their shared interest in uncovering complex memories and histories, in both individual and shared connections. Through such means as sculpting, drawing, text, printmaking, sound, and moving images, Arif Sataf and Audrey Fernandes-Satar draw from their ancestor’s stories, rituals, and craft to create this deep dialogue between the past and the present.

In his piece, Talking Animals, Arif Sataf demonstrates how imitation and understanding in animals is perceived by humans and exploring the ongoing domestication of the natural world and the impacts it has on animal body language and behaviour.

Through drawings and sculpture, these artworks convey the figure of the dog in Arif Sataf’s life. In the window front, the dogs are in a line and at times on rotating turntables, made with fibreglass sculptures and automotive paints.

Alongside Talking Animals is Audrey Fernandes-Satar’s The Garden Project: Dying in the Garden. This piece was first presented at the grounds and gallery spaces at the MS University in Vadodora, India and an exhibition at our very own Moores Building Contemporary Art Gallery. The Garden Project is an interdisciplinary art project involving research, development, creation, and presentation of artworks with Dr Audrey Fernandes-Satar. The Garden Project explores the ‘garden’ as a metaphysical thing, rather than in a literal sense. The art piece is about accessing the garden to express oneself. Dying in The Garden is a photographic series that focuses on a collection of objects found in people’s garden. 

Ian de Souza’s Paleolithic Understory #2 has layers of multiple drawings and oil paintings with rich colour and texture inspired by its name.

Based in Fremantle, Ian de Souza is an artist and art educator with 40 years in experience. Born in West Malaysia, he started his education in Singapore before travelling to Australia to further his studies. Known best as a figurative painter, Ian de Souza is inspired by light and movement.

With many experiences exploring remote areas of WA and a degree in earth science, Jo Gray has a passion for our landscape. Jo Gray uses a fusion of her experiences in exploration and art to create her pieces.

Jo Gray’s Amphora 2020 is a pit-fired painted ceramic on Kimberley Sandstone on metal base, inspired by the amphorae which was found off the coastline of Aeolian Islands. Collections of them hang in Next Hotel, Melbourne. Amphora 2020 was bisque fired, pit fired, wrapped in salt, copper, seaweed, sawdust, and native leaves before being painted in charcoal ink.

Banyji Pansy Cheedy is a Yindjibarndi Elder and Cultural Custodian. A highly respected artist, Banyji Pansy Cheedy has been creating beautiful acrylic paintings on canvas since 2010. In the past three years she has extended her work to beautifully stitched works on linin, stitched acrylic paintings, and intricate yarranga marni (carved boards).

Banyji Cheedy continues to share her cultural, environmental, and creative skills and knowledge with emerging artists and young people. The piece titled Our Yindjibarndi Night Sky: Yinda Reflection is inspired by lights on Yindjibarndi Country where the stars reflect on the water.

Alessandra Rossi was born in Friuli, Northern Italy, but spent most of her formative years in Venice, amongst the international artistic community. Alessandra graduated from Maryland Institute College of Art in the USA in 1991 with a BA in Fine Arts. Whilst in America, she worked with artists such as Leon Golub, Nancy Spero and Rodney Allen Greenblatt under the Arts Education programme at Association Internationale des Critiques d'Art (AICA) in New York.

Alessandria Rossi’s Coral Boy 2019 is a continuation of the artist's exploration of coral bleaching and discolouration. Using Marine Ply, paint, and stainless steel, Coral Boy 2019 comments on society’s attachment to technology and social media.

Libby Peacock is an artisan and craftswoman who uses her art to explore her fascination with found objects in nature. Libby Peacock is known for her hand knitwear range from the 1980s, which sold worldwide. You can find a permanent display of her work in the Innovations Gallery of the Boola Bardip Museum in Perth.

Fossickings uses jute twine and seaweed to create a basket that was crochet, stiffened and embellished with seaweed. This piece is one of a kind.

Mary Watson is a Yindjibarndi artist who has been painting for two years at the Juluwarlu Arts Studio. During that time, her paintings have been selected for and sold at Perth-based exhibitions. Mary Watson’s art explores the multitudes of colours of her ancestral Yindjibarndi Pilbara tablelands, as well as the stories and continuing meanings of Yindjibarndi spiritual connection to land and cosmos. Mary Watson’s Yurra—meaning sun— is a painting that celebrates the sun hitting claypans on Yindjibarndi country.

Michael Knight has been an artist for over 20 years, trained at UWA and the Julian Ashton Art School. He is known for his vibrant palette and to express what he sees and feels. Michael Knight uses his drawings as a fundamental tool in his creative practice, with work including portraits, landscapes, abstracts, and sculptures. The Yilgarn Totem is an intuitive, primitive-style sculpture that allowed the colour and grace within fallen timber to emerge over the seasons. The sculpture was made with eucalyptus wood and used with an Osmo Polyx® oil finish.

Alongside the Yilgarn Totem is Maternal Bond, a fluid piece exploring the powerful forms of physical relationship, highlighted in curving timber grain. Maternal Bond was made with Olive Wood.

Two other pieces by Michael Knight are featured: Lynton Farm is made with oil on composition board, and Ennuin Homestead 2018 was created using oil linen on board.

Carrissa Wu is an artist from Singapore based right here in Fremantle. Using her background in Fine Arts & Art Therapy, Carrissa works as a Paper Florist where she makes personalised gifts and runs creative workshops at Jotterbook Flowers, her store in Fremantle. Carissa Wu is inspired by native flora and uses crepe paper and recycled materials to create sculptures that both celebrate and inspired by nature.

Her featured art pieces titled Blossom Chops (Corymbia ficifolia—Pink Flowering Gum), Down the Road (Corymbia ficifolia—Red Flowering Gum), When We Move (Banksia menziesii—Firewood Banksia), Not Actually Native (Protea cynaroides—King Protea) and Red Carpet (Callistemon viminalis—Bottlebrush) are made with materials such as double-layered crepe paper, paint, wire, glue and sometimes recycled packing peanuts.

Greg Barr is a multi-talented artist whose work is both emotive and directly engaging. His brushwork in his paintings is filled with texture and warm tones that have an honest and immediate intensity to it. Through a variety of techniques such as palette knives, pouring, spraying, sponging, and masking, Greg applies layers of mediums that create a depth to his work.

Greg Barr’s featured piece Dad’s, The Old Man 2021 is inspired by his relationship with his father and explores a reflection of himself and his love for his family and friends.