a theory of the cycle of things
TUMBLEWEED METHODOLOGY: a theory of the cycle of things
This is a solo exhibition at Craft Victoria, 17 October – 30 November, 2013.
images © Anita Beaney
It was opened by artist and raconteur Akira Akira via the conduit of artist Charlie Sofo. Charlie read a letter from Akira Akira who is ensconced in a studio residency in Helsinki.
Thank you for agreeing to deliver this speech for me.
I hope you find yourself surrounded by a bunch of lovely people who are genuinely supportive of you this evening. As you witnessed the carnage that I got myself into just over 12 months ago, it’s a battlefield out there.
Well, for those of you who didn’t know, I opened Charlie’s exhibition corn chip, mobile phone, finger print, incense stick here at Craft in September last year.
It was a terrific exhibition but my opening speech was somewhat questionable.
I am pleasantly shocked then that Debbie Pryor OK’d for my further involvement in opening speech business on her watch.
A very brave curatorial move, Debbie.
RESPECT. (Can you tap your heart with fist when you say this, Charlie?)
As per our gentleman’s agreement, I got an opening speech I.O.U. from you, which I was hoping to use for my own exhibition. But since there is no solo exhibition pencilled in for me anywhere, I thought I’d redeem it for your opening of my best friend and colleague Dr Sarah crowEST’s exhibition Tumbleweed Methodology: A theory of the cycle of things on my behalf. It’s about time that I become more self-sacrificial.
As you know, Sarah is a terrific artist, rigorous thinker, and very caring person with a highly complex personality. And of course, she is a great friend to so many of us.
Just look around you - so many lovely people/weirdos present here this evening!
As a highly acclaimed textile artist with her work in various public collections including the NGV, Sarah returned to art school in 2001 where I met her.
Since then, Sarah has transformed her practice manyfold, like a tumbleweed agglomerating whatever materials that stick into its form and movement.
She’s come a long way, having experimented with sculpture, installation, photography, performance and video. She even won a Tropfest in 2008!
Look it up on Youtube – it’s terrific!
Indeed, Sarah has risen from “the textile ghetto” (Sarah’s words, not mine), like the phoenix from the ashes over the course of 12 years that I’ve known her.
It is a sure sign of her artistic bravery then that she’s now willing to teeter around the edges of her former self in this new body of work on show at Craft.
I just hope that she doesn’t fall into the abyss.
You know, Charlie, a downside to delivering a speech in this manner is that neither can I feel the temperature of the crowd nor I can see how uncomfortable you must be feeling right now. If you feel like adlibbing, go nuts. Here is your chance.
If not, I shall make a closing remark.
Can Ms Viv Miller make sure that Sarah doesn’t get too tipsy this evening?
Otherwise she will send me a message tomorrow morning to say how wretched she feels + how hopelessly pointless her art practice appears to be.
We are delicate petals after all.
Also, the accompanying catalogue for this show is available!
It contains the text contributions from rigorous thinkers such as Associate Professor Suzie Attiwill, Meredith Turnbull, and yes, you Charlie Sofo, and me!
Have a lovely evening, everybody!
writing on a cold, foggy evening in Helsinki, thanks to the Australia Council for the Arts, Skills + Arts Development Residencies program.
Below are some details of works in progress on Belgian linen.