Audio Tour

Sandra Harben is a Whadjuk and Balardong Nyoongar woman. Sandra is the principal of Richmond Consultancy, which facilitates cross-cultural awareness training workshops (CCWTW) throughout the South West and metropolitan areas. Sandra has undertaken extensive community and stakeholder engagement as a member of the Whadjuk Working Party for the WA Museum.

Jessee Lee Johns’ practice is rooted in a DIY philosophy of lowered standards and tactical ignorance that has generated a list of impressive-sounding achievements. Jessee has exhibited extensively outside the gallery system both nationally and internationally. He is the Co-founder and Director of the Contemporary Institute Of Modern Art (CIOMA), an international and pan-temporal art institution with sites in 2015, 2016, Cambodia, 2018 and 2020.

Jacob Diamond is a song maker from Western Australia based in Naarm (Melbourne). After years of avant-pop songwriting, playing Perth’s nooks and crannies and assembling releases, all to various local and national acclaim. Jacob developed an anaphylaxis-level allergy to self and spent the last few remaining pre-pandemic years playing guitar for others and performing in plays. After tours and detours with Methyl Ethel, Stella Donnelly and New Nausea, Jacob returned to the songwriting landscape in 2021 with the tender, ghostly new single Bay of Fleas and is in the throes of recording his second LP. The long-time cross-discipline collaboration between Jacob and Jewel of the West, Jessee Lee Johns, continues at the 2021 Biennale.

Rohin Kickett is a Nyoongar artist from the Balardong region. His practice revolves around paint and photography with a particular focus on mark making. The inspiration behind his work stems from experiencing first hand the impact of colonisation on his family and community and from his connection to Country. Rohin is driven to shed light on the issues that Aboriginal people are facing today with a willingness to foster stronger relationships with the broader Australian public.

Daniel Jan Martin is an environmental planner and designer practising in Perth, Western Australia. He teaches and researches in architecture and landscape architecture at the UWA School of Design. Between geospatial and architectural scales, he demonstrates how we can work with and repair the natural systems in our cities and suburbs. A passion for environmental communication drives Daniel’s work – sharing, translating and advocating for harmony between our cities, water systems and ecosystems.

Daniel studied in architecture, environmental design and music at The University of Western Australia and at Lund University, Sweden. Recent work includes the online environmental resource Whole Perth Catalogue (launched 2019), the immersive ecological exhibition Swampscapes (2019) and the book publication In Time With Water: Design Studies of 3 Australian Cities (2019), exploring design with water in Perth, Melbourne and Brisbane, published by the Cooperative Research Centre for Water Sensitive Cities.

Ilona McGuire is a proud young Noongar/Kungarakan woman whose ancestry extends from Whadjuk Country to the Fitzmaurice region of the Northern Territory. Currently studying a Bachelor of Arts (Fine Arts) at Curtin University, Ilona’s artistic direction was inborn with creative family members inspiring her to develop her talents. As a wide reader and humanitarian, Ilona’s artistic process is informed, consultative and accessible. Recurring themes such as cultural identity, spirituality and traditional versus contemporary Indigenous values reflects her own learning journey as a grounded young Indigenous woman in an increasingly ephemeral world.

Jazz Money is an award-winning Wiradjuri poet, a fresh-water river woman currently based on beautiful Gadigal land, in the place now known as Sydney. Her practice is centred around the written word while producing works that encompass installation, digital, film and print. Jazz’s debut collection how to make a basket is available through University of Queensland Press.

Bruno Booth has used a wheelchair for most of his life, interrupted by a short and unsuccessful career as an amateur stilt walker when he used prosthetic legs as a child. In his memory, these leather and metal devices would not have been out of place on the set of some dystopian, apocalyptic epic – not in a cool and attractive Fury Road sort of way, but more like the zombies in the original Walking Dead. The experience of wearing restrictive equipment left him with a dislike of tight-fitting clothing, a love of speed and a need to reach over his head in supermarkets. As a child he made the decision to use a wheelchair as his primary mode of transport, and he’s never looked back (probably because he’s too busy looking out for sand pits on dark footpaths).

Having a disability has been a constant background hum throughout Bruno’s life. Kind of like a social tinnitus – you know it’s there, but you try not to talk about it. It was only when he started to call himself an artist, without cringing too much, that he began to engage critically with what it meant to be categorised as disabled.

Bruno’s recent work uses participation and large sculptural forms to create experiential works that challenge the able bodied to navigate a world that is uncomfortable by design. His constructed experiences poke fun at the assumptions many people have about disability, while leaving lasting impressions that engender a deeper response from the audience.

Bruno has recently been a resident artist at Fremantle Arts Centre (2019), Testing Grounds, Melbourne (Vic) (2019), PICA (2017) and North Metropolitan TAFE (2017). He is working on shows for PICA (WA) 2021, Art Gallery of Western Australia (WA) 2021, Seventh Galleries (Vic) 2022, The Joondalup Invitation Art Prize (WA) 2021 and The University of Tasmania (Tas) 2022.

Trevor Ryan is a gifted and versatile stage and screen performer, drama teacher, and NIDA graduate with a strong interest in Indigenous languages and cultures. His recent career highlights include performing as King Duncan in Hecate (Yirra Yaakin/Bell Shakespeare, 2020), a full Noongar-language adaptation of Shakespeare’s Macbeth; voice acting as Yoshida in the Noongar-dubbed version of the classic Bruce Lee film, Fist of Fury Noongar Daa (Perth Festival with Boomerang and Spear, 2021); and touring in FIFO (Yirra Yaakin/Goolarri Media, 2021). In between teaching drama with Monkey Baa Theatre Company, Trevor also appeared in Sunday in the Park with Frank for Short + Sweet; Warengesda – a Place of Mercy; Series 2 of The Circuit; My Girragundji with Canute Productions; ABC Radio The JeDy; and The Heights by ABC Productions. On the stage, Trevor has completed a season of Shakespeare WA, playing the roles of Balthasar in Comedy of Errors and Caliban/Jailer in The Tempest. He has toured with Banuba Films’ production of Jandamarra around northern WA. As a constant member of the Wadumbah Aboriginal Dance Group, Trevor performed for the Queen upon her arrival in Perth, and at the opening of CHOGM 2011. Amongst his busy performance schedule, Trevor is also researching the links between Noongar performance and Country through a Masters of Performing Arts degree at the Western Australia Academy of Performing Arts.

Clint Bracknell is a musician and researcher from the south coast Noongar region of Western Australia, and Associate Professor at the Western Australian Academy of Performing Arts and Kurongkurl Katitjin Centre for Indigenous Australian Education and Research, Edith Cowan University. His stage credits as composer, sound designer and musical director include Hecate (Yirra Yaakin/Bell Shakespeare), The Cherry Orchard, Water and The Caucasian Chalk Circle (Black Swan), Skylab (Black Swan/Yirra Yaakin), Mission Songs Project: 1957 Palm Island Strike (Sydney Festival, Darwin Festival), King Hit (Yirra Yaakin), and The Red Tree (BGTC) which was nominated for best original score in the Helpmann Awards. Recent screen credits include Fist of Fury Noongar Daa (Fortune Star/Perth Festival/Boomerang and Spear) and H is for Happiness (Cyan Films/The Koop). Clint’s PhD in Music from UWA was awarded the 2016 Robert Street Prize for most outstanding thesis.

Callum G’Froerer (b. 1988) is an Australian trumpet player based in Melbourne and active in various improvised and notated musical settings. Originally from sunny Perth, he was based in Berlin from 2015–2018, and Melbourne from 2012–2014. Present and past projects include: The Sculpted Trumpet, an internationally-touring recital of new electro-acoustic works for double-bell trumpet; contemporary chamber ensemble Smallroom; bass/piano/trumpet trio, DRUM, with Andy Butler and Jonathan Heilbron; Marco Blaauw’s Monochrome multiple-trumpet project with performances of Anthony Braxton’s Composition No. 103; early and contemporary brass music with Brass Commons; improvising ensemble Phonetic Orchestra; new music quartet Cathexis; trumpet/double bass duo with Jonathan Heilbron. He has performed in the USA, Italy, UK, Japan, Portugal, Denmark, Norway, Turkey, Taiwan, Germany and Singapore, and has performed world and national premieres of works by Ann Cleare, Karlheinz Stockhausen, Liza Lim, James Rushford, Laure Hiendl, Cat Hope, Alice Humphries, Simon Charles, Iain Grandage and Eres Holz. Callum was long-listed for the 2014 Freedman Jazz Fellowship and the 2015 Freedman Classical Fellowship. His long-term composition project Charcoals spans electro-acoustic works, field recordings, performance pieces, and acoustic chamber music – all performance/site-specific. His jazz output includes: quintet album City Speaks, released in 2013 on the Listen/Hear Collective label; his quartet album Space Available, released independently in 2015. In 2020 he released his second quartet album on the Earshift label.

Brooke Leeder is from Perth and a graduate of the Victorian College of the Arts. She has performed with Stephanie Lake, Luke George, Phillip Adams Balletlab, Phillippa Clarke, Buzz Dance Theatre, Company Complesso and previously performed in Tenebrae et Lux and Midsummer Nights Dream (As You Like it) with the Perth Festival in 2013 and 2014. She has also danced with companies in Germany, London and the Trisha Brown Dance Company in New York. Her choreographic works include Dancers Speak Volumes, Mechanic, Unravel and three – the experiment series from 2014 to 2017. Brooke has created new works for Taipei’s Kandu International Arts Festival in Taiwan, Co3 Australia, Western Australian Academy of Performing Arts and John Curtin College of the Arts. She founded Brooke Leeder & Dancers in 2018 and has since presented works in Galleries, car parks, and RADAR in the B Shed, Fremantle. Most recently she was one of five artists invited within the grand, new WA Museum for their opening event and filmed an except of Structural, set within the beautiful building. Her work Structural Dependency was recently presented for the Perth Festival 2021.

Azariah Felton is a composer and sound artist, who creates both electronic and instrumental music in a range of genres. He is interested in sonic texture and timbre, and its equivalents in other media, particularly physicality in dance. He draws from wide-ranging influences: popular styles including metal, jazz, and ambient music, and ‘art’ styles such as postminimalism and electroacoustic music. His works have been performed at La Biennale di Venezia Danza (2018), the Montpellier Dance Festival (2018), the Kuala Lumpur International Composers’ Series (2017), and in Australia, New Zealand, and the United States. He is a graduate of the Western Australian Academy of Performing Arts, and recently completed a master’s degree at the California Institute of the Arts, supported by a Fulbright Postgraduate Scholarship. He grew up all over Western Australia, from Denmark to the Kimberley, and remains a country kid at heart. Azariah lives and works in Boorloo (Perth), on Whadjuk Nyoongar Boodja.

Katie West is an artist and Yindjibarndi woman of the Pilbara tablelands with a strong sense of home in Nyoongar boodja. Using found and naturally dyed textiles, video and sound, Katie creates installations and happenings to invite attention to the ways we weave our stories, places, histories and futures.

In 2017 Katie completed a Master of Contemporary Art at the Victorian College of the Arts, University of Melbourne.Other selected exhibitions include: Radical Ecologies, PICA, Perth WA; Roll on, Roll on, Phenomena (until you are no more), curated by Eloise Sweetman, Jan van Eyck Academy, The Netherlands; Warna (ground), Caves Gallery, Melbourne, Vic; wilayi bangarrii, wanyaarri (go for a walk, listen), Dominik Mersch Gallery, Sydney NSW; Installation Contemporary, Sydney Contemporary 2019, Carriageworks, Sydney NSW; Clearing, TarraWarra Museum of Art, Healesville, Vic.

Katie also shares a collaborative project with artist and writer Fayen d’Evie entitled Museum Incognita. Sparked by asking what forms a decolonised museum may take, Museum Incognita revisits neglected, concealed or obscured histories, and activates embodied readings of place. Exhibitions and residencies for the project include: When the other meets the other, curated by Biljana Ciric, Cultural Centre of Belgrade, Serbia; Summer Residency: Museum Incognita, Blindside, Melbourne Vic; A thousand times the rolling sun, curated by Gabriel Curtin, HM Prison, Beechworth, Vic; and the University of Melbourne’s Department of Geography Artist-in-Residence Program.

Penhale & Winter are a Fremantle based architectural studio established by Drew Penhale and Shane Winter. Working, teaching and building locally, their approach and working method is entwined in architectural research. Pursuing pertinent experiential outcomes their work merges the pragmatic with the poetic, seeking moments of delight underpinned by the practical concern for function and use.

Sandra Harben is a Whadjuk and Balardong Nyoongar woman. Sandra is the principal of Richmond Consultancy, which facilitates cross-cultural awareness training workshops (CCWTW) throughout the South West and metropolitan areas. Sandra has undertaken extensive community and stakeholder engagement as a member of the Whadjuk Working Party for the WA Museum.

Amrita Hepi (b. 1989, Townsville of Bundjulung/Ngapuhi territories) is an award-winning artist working with dance and choreography through video, the social function of performance spaces, installation and objects. Using hybridity and the extension of choreographic or performative practices, Amrita creates work that considers the body’s relationship to personal histories and the archive.

Amrita has worked with leading Australian dance companies and choreographers such as Marrugeku, Force Majeure, The Western Australian Indigenous Dance company (Ochres) Melanie Lane, Bhenji Ra and Victoria Chiu. She has been an artist-in-residence at BANFF Centre for the Arts Canada, ACE OPEN South Australia, PACT Sydney.

Loren Kronemyer is an artist living and working in remote lutruwita (Tasmania), Australia. Her works span objects, interactive and live performance, experimental media art, and large-scale worldbuilding projects aimed at exploring ecological futures and survival skills. Her latest solo show True Aim opened at Michael Bugelli Gallery in April 2021. Her recent work After Erika Eiffel has toured to ANTI Festival of Live Art 2019 (Finland) and MONA FOMA Festival 2020 (lutruwita/Tasmania). She is co-curator of the show PREPPERS, touring across Australia since 2017. In 2016, her collaboration Pony Express created Ecosexual Bathhouse, a touring queer sex club for the entire ecosystem. In 2017, Loren was the first artist in residence at the International Centre for Radio Astronomy Research. She collaborates frequently with laboratories and received the first Masters of Biological Arts Degree from SymbioticA Lab at the University of Western Australia. Her work has been hosted by Santarcangelo Festival (Italy), Forum of the Future (Portugal), Interformat Symposium (Lithuania), Dark Mofo (AU), Liveworks (AU), Next Wave (AU), The Perth Institute for Contemporary Art, The Perth International Arts Festival, The School of Visual Art (New York), and the International Symposium of Electronic Arts. She is seasonal lecturer for the Icelandic Academy of Arts Masters of Performing Arts Program, and a PhD Candidate at the University of Tasmania.

Based in Perth, Western Australia, Tristen Parr is a classically trained and versatile acoustic and electric cellist specialising in new music performance and performer-integrated sound design for theatre, dance and installation. He has toured extensively throughout Australia, America, Canada, Asia and Europe, and has recorded for Germany’s SWR & the ABC, performing across more than 50 recorded releases. Tristen is a founding member of electro-acoustic ensemble Decibel, silent film band Viola Dana and art makers Praxis Collective as well as being part of many ongoing projects. As a freelance sound designer, he has been commissioned by the likes of Louisville Ballet, Yirra Yaakin, LINK Dance

Alexander Boynes is an artist, curator, and Program Manager at the Canberra Contemporary Art Space. He received his Bachelor of Visual Arts (Honours) at the ANU in Gold and Silversmithing; however, his practice has evolved to include painting, photography, print media, light-based work and video installation. He is represented in the collections of the Center for Art + Environment, Nevada Museum of Art (USA), Artbank Australia (Vic), the ACT Legislative Assembly (ACT), the University of Canberra (ACT), the Macquarie Group Collection (NSW) as well as numerous private collections throughout Australia and in London. His recent curatorial projects include Straight Outta Canberra (MAY▲SPACE, Sydney, 2018), and Blaze Twelve 2018 (CCAS Gorman Arts Centre, 2018). Previous exhibitions at CCAS include 2°— Art and Climate Change, 2016; Footy Fever, 2015, Blaze Nine, 2015, Action Stations — Peter Maloney and Louise Paramor, 2014, and The Triangle – Political Art in Canberra, 2013 in addition to co-curating numerous projects. In 2013 Boynes established PRAXIS, a multidisciplinary art collective with choreographer/ dancer Laura Boynes, and cellist/composer Tristen Parr to explore the link between visual art, performance, and sound.

Paul Iskov established Fervor in March 2013, with the aim of providing a “culinary experience you can’t get anywhere else” Fervor harness locally sourced native produce and share it with diners at unique locations across Western Australia, including salt lakes, beautiful bushland and pristine beaches. Paul boasts an outstanding resume, including experience in highly acclaimed kitchens around the world, including Vue De Monde, Amuse, D.O.M, COI, Pujol and Noma. He has a great love and respect for the land and endeavours to portray this through his food, locations, dedication and passion.

Dale Tilbrook is a Wardandi Bibbulmun woman from around the Margaret River, Busselton, Augusta area of the southwest of Western Australia. Her Indigenous tourism and food journey started in 1996 when she began a small company with her brother Lyall, opening their first gallery and gift shop in the Swan Valley. Maalinup Aboriginal Gallery today offers original Aboriginal artworks, gifts and souvenirs and Australian food products. Gourmet bush tucker products are their speciality, and they carry a range of jams, sauces, chutneys, oils and dukkahs, as well as a comprehensive selection of native Australian herbs, spices, dried fruits and nuts. Cooking with and promoting Australian wild edibles is a particular passion of hers and in 2016, she represented Slow Food Swan Valley, cooking and presenting at the Terra Madre Festival in Turin, Italy. This Festival attracted 7000 delegates from 143 countries with 1 million international and local guests attending. She is often called upon to speak about and cook bushfoods and particularly loves the collaboration with Fervor when she can cook and talk about the ingredients and tell stories from the land.

Andrew Sunley Smith is a UK and Australian artist currently residing in Fremantle, Western Australia. His practice encompasses and manifests the areas and diverse practices of pragmatic, co-efficient contemporary art and design, with a focus on the direct physical forms of relational aesthetics.

He has exhibited with UK Turner Prize-winning artist Martin Creed, Alicia Framis (ES) and Matthias Weischer (DE). Has organised and presented talks with Berlin-based artist Jimmie Durham and worked on creative productions for American musician Lou Reed and fellow UK contemporary artists, David Shrigley and Karla Black.

Andrew was a contributing lecturer for the MFA Environmental Art Studio programs at The Glasgow School of Art; Oxford Brookes University, UK; The University of Glasgow; the Bauhaus University, Weimer, Germany; the College of Fine Arts (COFA), University of New South Wales, Sydney; and currently as Post Graduate supervisor with the School of Design, Creative Arts and Social Enquiry, Curtin University, Western Australia.

Andrew is the currently the Creative Director of the contemporary art production space CP2O in Hamilton Hill, Western Australia – an independently funded communal facility which focuses on expansive, experimental creative practices.

His work is held in the national collection of the Museum of Contemporary Art (MCA) Sydney Australia, The University of Western Australia, The National Library of Australia, Canberra, and notable private collections including Penelope Seidler, AM and artist David Shrigley (UK) among others.

May Greenberg is a Jerusalem born independent artist based in Perth WA, mostly known for performing and creating site specific choreography. Her recent creations include Escapism 2020 presented on the staircase at the State Theatre Centre, and Disclaimer: on the rooftop of the Alex Hotel as part of the last two SITU8 seasons presented by STRUT Dance. May’s experience as a performer began with Ohad Naharin’s Decadence presented by STRUT Dance as part of the 2016 MoveMe Festival, and continued onto works which include Brooke Leeder’s Structural Dependency for Perth Festival 2021 and RADAR as part of the 2019 Fremantle Biennale, A Midnight Visit as part of Fringe World 2019, A Night Out! by Natalie Allen which toured regional WA in 2019 and In Good Company 2021. May’s most recent development for her solo The Interface was presented by Co3 Australia’s IN HOUSE season, and has been commissioned to choreograph a performance for the opening of Karrinyup Shopping Centre supported by Co3 Australia.

Zee Zunnur is a movement artist who currently dances with Hofesh Shechter Company (UK) and an Associate Artist with Bhumi Collective (Singapore). She started dance training at a young age in traditional Malay dance. Being part of the pioneer batch at School of the Arts Singapore and danced with T.H.E. (Second) Dance Company, her love for contemporary dance brought her to London and graduated from London Contemporary Dance School with a scholarship from the National Arts Council (Singapore) and Leverhulme Trust (UK). Whilst in the UK, she has worked with choreographers and companies such as Victor Quijada (RUBBERBAND), Punchdrunk, Dane Hurst and Just Us Dance Theatre. Having toured internationally as performer, she has also been invited as a guest artist and choreographer with various companies, festivals, residencies and schools such as with T.H.E. Dance Company, M1 CONTACT Contemporary Dance Festival, Edinburgh Fringe Festival, Ignition Dance Festival, Esplanade da:ns festival Singapore, Singapore Biennale and more. Being based in Australia now, she has worked with Sydney Dance Company, STRUT Dance, Co3 Australia, Marrugeku, Mitch Harvey Company, James Vu Anh Pham, Brooke Leeder and  WAAPA. She is currently a mentor for a dance project funded by the Propel Youth Arts WA and as rehearsal director for Mitch Harvey Company’s upcoming show MindCon.

Nathan John Thompson explores the possibilities of man/machine interaction, mechanical sentience and the hidden creative corners that arise from these relationships. Building Dissipative Systems – both electromechanical and biochemical – that play along the blurred edge of the interactive while showing independent intent and agency. Nathans work often manipulates life to question and problematise humanity’s position in the contemporary environment in order to build greater understanding of the inhabited space we share. His long-term enquiry surrounds the political and ethical issues encountered when we allow technology ‘open access’ to our lives. Nathan has shown work and performed throughout Australia, Europe, Asia and Latin America. In 2021 his work has received awards of excellence in both Ars Electronica and Japan Media Arts festivals.

He is currently a researcher at SymbioticA – IP Stem Cell technologies implementing bio-engineered human brain organoids to develop a ‘surrogate performer’ for aged, infirm or deceased composers.