Andrew Purvis sits down with Julia Robinson to discuss her exhibition The Beckoning Blade at Hugo Michell Gallery. From scythes to smocks, the Burry Man to the Wicker Man, witchfinders and gourdfathers; tune in to hear about the cultural, conceptual, and material considerations that drive Julia’s practice.

Show Notes

• JuliaRobinson.net
• The Beckoning Blade at Hugo Michell Gallery
• Matthew Hopkins - Witchfinder General
• The Burryman
• The Wicker Man (film, 1973, directed by Robin Hardy)
• The Song of Master John Goodfellow
• gourd (fruit)
• The Gourdfather
• Beatrice in the 2020 Adelaide Biennial at Museum of Economic Botany
• Rappaccini’s Daughter
• The Names of the Hare (poem, translated by Seamus Heaney)

Image: Julia Robinson, The Cull, linen, thread, steel, fixings, 110 x 110 x 15cm, 2021, photo Sam Roberts. Julia Robinson is represented by Hugo Michell Gallery. This project has been assisted by the Australian Government through Arts South Australia, its art funding and advisory body.

Andrew Purvis chats with Mark Valenzuela about his journey as an artist and his current exhibition, 'Still Tied to a Tree' at Adelaide Central Gallery. Tune in to hear about his influences and connections to his practice – from Filipino culture, to chess, to the fictitious villain General Zod.

Show Notes

• 2022 SALA Feature Artist
• Still Tied to a Tree at Adelaide Central Gallery
• Book: Mark Valenzuela by Belinda Howden, Anna O’Loughlin [Wakefield Press]
• General Zod [Wikipedia]
• Terraforming
• Agimat (amulet) [Wikipedia
• Opposition (direct opposition) in chess [Wikipedia]

Andrew Purvis sits down with Clem Newchurch to discuss his arts practice and how it ties to his cultural journey. Tune in to hear about Clem’s processes; from collecting natural material and being guided by its properties, to reflecting on museum collections to position his techniques in time and place. They yarn about the recent exhibition KAURNA: Still Here as an outcome of the Guildhouse Collections Project, all while Clem demonstrates weaving techniques for the audience.

Show Notes

• Australian Fifty Dollar Note [wikipedia]
• KAURNA: Still Here [Catalogue (PDF)]
• The Collections Project - Guildhouse
• George French Angas [wikipedia]
• In the Studio with Clem Newchurch - InDaily article
• @ClemNewchurchArt

image: Clem Newchurch, Uncle Peter taking photo of second valley painting, 2022, Digital composition with artist photo and George French Angas, Coast scene near Rapid Bay at sunset, 1847.

Catherine Truman joins Andrew Purvis to discuss the dynamics of artist residencies, the importance of a self-imposed 'pause', the desire to artistically locate the person behind their research, and the beginnings of her work from her time in residency at Carrick Hill.

Show Notes

• Gray Street Workshop
• Ian Gibbins
• Carrick Hill
• Flinders Centre for Opthalmology and Vision Research
• 'Epithelium' Film
• Catherine Truman - website
• Catherine Truman - Instagram

Andrew Purvis catches up with Rosina Possingham to chat about her intricate photographic processes (that dote on old and new technology), collaboration, and 'the Patch', a body of work recently exhibited at Praxis Artspace inspired by Lefevre Park/Namtu Wama.

Show Notes

• RosinaPossingham.com
• ZINC
• Brianna Speight
• Park Lands Project
• The Patch

Tom Borgas and Athanasios Lazarou make time to chat about Tom's practice. From feedback loops, to making the unseen seen, and the weather conditions that constitute a 'Tom day'.

Show Notes

• Keller Easterling
• Timothy Morton
• James Bridle
• Post Digital Ruins (Splendour in the Grass)
• Researchers Reveal Why We Don't See Cell Phones In Our Dreams [article], The Richest

Andrew Purvis chats to Heidi Kenyon about the themes of her practice and her work in Neoteric at the Adelaide Train Station.

• HeidiKenyon.com
• @HeidiKenyon.Art
• NeotericExhibition.com
• Heidi Kenyon, We shall by morning inherit the earth, 2022, Pleurotus ostreatus and citrinopileatus, timber and mixed media, dimensions variable. Sound by Ben Davidson (Ben Sun) using electromagnetic sequences generated by the fungi.
• Neoteric Digital Catalogue (pdf)
• ‘It is the job of artists to open doors and invite in prophesies, the unknown, the unfamiliar; it’s where their work comes from, although its arrival signals the beginning of the long disciplined process of making it their own. Scientists too, as J. Robert Oppenheimer once remarked, ‘live always at the ‘edge of mystery’­—the boundary of the unknown.’ But they transform the unknown into the known, haul it in like fishermen; artists get you out into that dark sea.’ - Rebecca Solnit, 'A Field Guide to Getting Lost'

Image: Heidi Kenyon, work in progress for We shall by morning inherit the earth, 2022, photo Adrian Kenyon

Andrew Purvis sits down with SA artist Jess Taylor to discuss her arts practice and her show Primordial at Hugo Michell Gallery. Tune in to hear about Jess' journey since art school, how art can perform the social function or horror (and ethical hurdles around executing this), and what draws her to the mediums she uses.

Show Notes

• Primordial at Hugo Michell Gallery
• View Master at FELTspace (2014)
• ACE Open Studio Residency
• Francisco Goya
• Chaïm Soutine
• Francis Bacon
• the Chapman Brothers
• Francisco Goya, Saturn Devouring His Son
• Jess Taylor, When I die, I’ll die on time, 2022, 3D printed resin and paint, 35 x 21 x 13cm, ed. Of 3
• Cordyceps is a genus of ascomycete fungi
• Jess Taylor, Now I love You In The Dark, 2022, 3D printed resin and paint 37 x 62 x 18cm, ed of 3
• Midsommar (2019 film)

Image: Jess Taylor, A Lie for a Lie (detail),