EXHIBITIONS & STOCKISTS
![There is no such thing as identical II [Detail 4].jpg](https://static.wixstatic.com/media/3d1e76_0bd2e295710a43e1a359eda487a75df7~mv2.jpg/v1/fill/w_440,h_440,al_c,q_80,usm_0.66_1.00_0.01,enc_avif,quality_auto/There%20is%20no%20such%20thing%20as%20identical%20II%20%5BDetail%204%5D.jpg)
STOCKISTS
Mundaring Arts Centre, 7190 Great Eastern Highway, Mundaring
The White Room Framing Studios, Shop 10A Central Mall, Kalamunda
Contact for commissions or available artwork: shantigelmi@gmail.com
EXHIBITIONS
TREAD SOFTLY
These seven artists evolved their latest bodies of work after a shared journey in the breathtaking landscapes of the Pilbara @cheelaplainsstation The created works celebrate this special shared experience in sculpture, paintings, installations, ceramics, photography and videography- culminating to express the Pilbara in a unique and feminine voice.
In this group exhibition held at @ps.artspace each artist reflects on the unique colors, textures, and forms of the landscape. Rich ochres, deep reds, vibrant oranges, pindan, and the more soft and subtle hues, all presented across various mediums. Textured surfaces and sculptural forms evoke the beauty and raw energy of this remarkable region... prepare to be IMMERSED.
Accompanying these remarkable works is the highly anticipated
launch of TERRA CHROMA, an extraordinary book by Jessica Howard that offers an intimate glimpse into the creative processes of each artist. This unique publication not only showcases the stunning artworks of the seven featured artists but also reveals the inspiration, processes and stories behind their creations. It’s a must-have for anyone seeking to understand the vibrant essence of the Pilbara and the innovative spirit of these artists.
Works from the exhibition and Pre-Orders of the book will be available to view and acquire prior to opening night.
To be placed on the VIP Pre-Sales list please email carly.lecerf@gmail.com
F L E S H
January 20 - February 28, 2024
F L E S H is a group exhibition featuring new work by visual artists, Robyn Bernadt, Hugh Breslin, Chris de Sira, Shanti Gelmi, Louise Grimshaw, Rebecca Hepworth, Noel Roy Johnson, Sophie G Nixon and Charlotte Robinson, and curated by Robyn Bernadt.
The exhibition brings together artists with diverse backgrounds and practices to explore the theme of flesh in a variety of media. Human and animal; alive and dead; familiar and strange. The exhibition raises questions about the body and aging, touch and texture, surface and skin - celebrating the biology of life and death with a touch of macabre.
This body of work looks at the harmony and disharmony in the dualities of flesh. Within a portrait lies layers of identity torn and formed by the physical and emotional. Emotions are held in the body; the body and mind in conversation together are embodiment of grief and growth. As we grow old, our outer image shifts into shadows of societal value and fractures the way we look inward and outward. We are left wondering if we owe existence the payment of our flesh. Our body begs to exist beyond the limits of life and be home to spirit and virtue in search of eternal value.
Value of fabric, value of sex, value of flesh; become the tethers between weakness and power in the eyes of the beholder and the depth of pockets. Bodies become fragmented into categories, tones, and catalogues, bleeding beneath the scrutiny of society’s narrow definitions. Body bits defined by their appearance endure scars physical and psychological. Flesh is all of us, our communication of self and our understanding of other. This exhibition plays the parallels between what we see and what we try not to see; the art of what it is for flesh to exist and be inhabited.
(Gabriela Antonini, 2022)
PLACEMARKS
3 August - 31 August 2023
Memories of place transform over time, details become etched, and others forgotten. We can connect memory to a particular setting, and we can mostly always recall where we were when an intense memory mark occurred. How much of a place is embedded and
remembered from stories and photos and how much of these are lost or misinterpreted?
This exhibition features ECU Visual Arts alumni and is expertly curated by @kristy.scaddan Each artist was tasked to create within an artistic discipline (sculpture, installation, illustration, printmaking, glass, paper and painting) to present the memory of a place from their past.
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(RE)BORROWING ARROWS WITH THATCHED BOATS
9 June - 24 June 2023
Moores Building Contemporary Art Space, 46 Henry Street, Fremantle WA
Official Opening Event Fri 9 June, 6pm
Exhibition runs 10 - 24 June 2023
Artist Talk Sat 17 June, 1.30pm
Artists: Desmond Mah (Curator), Patricia Amorim, Shanti Gelmi, Deborah Worthy-Collins and Tami Xiang
The exhibition ‘(Re)Borrowing Arrows with Thatched Boats’ centres around the Chinese idiom or chengyu "草船借箭". This chengyu was coined from a military strategy developed by Zhuge Liang during the Three Kingdoms Period in China. The strategy involved using decoy boats filled with straw to trick the enemy into wasting their arrows, which were later retrieved and used to launch a successful attack.
Chengyu are idiomatic expressions in the Chinese language that encapsulate cultural, historical, and philosophical concepts in a concise and memorable way. They have been used in literature, poetry, and everyday conversation for centuries. However, despite the presence of Chinese Diaspora in Western Australia, this aspect of Chinese culture is not visible to the broader public.
Patricia Amorim, Shanti Gelmi, Desmond Mah, Deborah Worthy-Collins and Tami Xiang will use 草船借箭 as a catalyst to navigate their worlds, and process their personal histories, experiences and memories. These Boorloo-based artists will produce their body of works collectively as a poetic metaphor.
Image Credit: illustration from Selected Pictorial Stories From The Romance of the Three Kingdoms, 1989
TRACING ABSENCE
14 April -3 May 2023
Kent Street Gallery - Victoria Park Centre for the Arts
Tracing Absence brings together a multidisciplinary, and close group of ECU alumni and friends, interpreting the themes of absence, loss, and the ways in which absence is made present, through their own personal experiences and their diverse practices and approaches to material.
Inherent to memory, is forgetting: loss and absence. We began to think about the ways in which absences influence how we perceive ourselves (altering our sense of self), how we interact with the world (altering our sense of space), and how we perceive and connect to the past and the future (altering our sense of time).
The key conceptual foundation underpinning the work in this show is the conflict between our inability to articulate and materialise what is not there, and our desire to engage with absences on a material level.