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Exhibition dates: 6–22 December 2013 Opening: 6 December, 6-9pm Opening hours: Friday to Sunday, 11am-5pm http://articulate497.blogspot.com.au/ 1. Barbara Halnan, Flight of fancy, 2013, acrylic on perspex, 40 x 120 cm, $450 The juxtaposition of two visually rhythmic series on the transparency and thickness of the perspex makes for a third visual pattern. The interplay of elements, with the emphasis on ‘play’, is what makes this into a pure flight of fancy. 2. Alicia Poppett, Did she tell you we went dancing? #1, 2011, yarn on canvas, 46 x 46 cm, $280 3. Richard Kean, Architectural Weave, 2013, pine, acrylic, 100 x 100 cm, $1300 4. Adrian Hall, Reified, 2013, digital image, 100 x 150 cm, NFS 5. Gillian Lavery, remnant, 2013, charcoal, paper, 56 x 75 cm, $150 A remnant of silk, falling into the blackness, or floating above? 6. Nuha Saad, After the Fall, 2013, acrylic on board, 19 x 156 x 30 cm, $3000 7. Annette Minchin, Dying To Fish, landscape debris and DIY materials on acrylic sheet, 25.5 x 49 x 2 cm, $350 8. ek 1 (Katie Williams and Emma Hicks), Are we there yet?, 2013, 2 x LCD screens, cloth banner 200 x 40 cm, 2-channel digital video looped, POA I feel good. I feel great. I feel wonderful. 9. Vivienne Dadour, General Purpose #1-#3, series 1, 2013, digital prints on archival paper, edition of 10, 42 x 29.7 cm, $350 each Images are created from personal photos taken in Phonsavanh, Plain of Jars and Luang Prabang, Laos, PDR as part of an Artist-in-Residence project I participated in during 2013. One of the most thought provoking aspects of my residency was the severity of the paradox between the gentle culture of Laos people and their history of war. Between 1964 and 1973 more than 2 million tons of ordnance was dropped by the US Air Force on Laos for the General Purpose of killing, destroying and exterminating civilians. The yellow object in the images is a cluster bomb I purchased from the Bomb Cafe, Phonsavanh. 10. Lesley Giovanelli, Column Four Vientiane, 2013, styrofoam, acrylic paint, fabrics from Bali, Greece, Laos, Japan, 70 x 280 cm 11. Helen L. Sturgess, Non-fruiting Body, 2013, iron oxide and watercolour on paper, 100 x 114 cm, POA The title of this work refers to the practice of hammering nails into the trunks of fruit trees that are bearing poorly, in the belief that the iron will improve their condition. It echoes the plight of many women. 12. Joan Grounds, Untitled, 2013, paper, rice paste, string, acrylic paint, gourd, signature in ink, 35 x 15 x 15 cm 13. Fiona Kemp, Resurface, 2013, LightJet digital print on Kodak Professional Endura metallic paper mounted on 3mm acrylic with polished edges, 90 x 160 cm, POA 14. Michele Elliot, floatation device (whitewash), 2013, 90 x 60 cm, NFS 15. Chantal Grech, The loss of paradise-1492-the Alhambra, 2013, mixed media, 100 x 200 cm, NFS

In that year Granada fell, finally expelling the Arabs from their sublime architectural metaphors of heaven and earth; and Columbus stood in the Alhambra (in the room depicted) requesting permission to set sail. 16. Marlene Sarroff, Equilibrium 1., 2013, rubber, board, 45 x 45 cm, $550 17. Jane Burton Taylor, My Mother Told Me, 2013, cardboard, paper and hand-printed silver gelatin photographs, A4 book, $90 each print or $1600 complete book These archival black and white street photos, taken by the artist, are juxtaposed with family sayings in order to explore inherited wisdoms and how they affect our lives. 18. Rose Anne McGreevy, honeytrap, 2013, watercolour paper, acrylic paint, 9”x 50”, $200, [email protected] A honeytrap is that which seduces or entraps via the pleasure principle. 19. Alison Clouston and Boyd, Remembering ‘BIRD CRY from the Grassy Box Woodlands’, 2013, iBook on iPad with headphones, iBook available free from iTunes store This book is the record of a sound/sculpture installation that was destroyed in our Burragorang studio fire in December 2010. Apart from these digital records, only the large inscribed cattle-hide Bastion survives, in the collection at Goulburn Regional Gallery. 20. Tracey Clement, Gecko Girl Count Down: 5, cotton embroidery on Irish linen, 60 x 60 cm, framed $1000 This work is part of a series based on a childhood drawing collaboration with my father: he drew, I scribbled with crayons. I have reinterpreted the drawing in embroidery, one of several traditional ‘women’s work’ skills my mother taught me. 21. Bettina Hill, All Folded Up (Icy Pole), mixed media, 30 x 15 x 20 cm, $290 22. Kath Fries, Pause, branch, fence paling, beeswax and twine, 60 x 220 x 60 cm, $680 Pause reflects a vestige of my time spent at Bundanon Trust artist residency last year. My tangible experiences of present time were simultaneously also anchored in the past. There were moments when time stretched slowly out into the future, then fuse-like it quickly ran out. 23. Anke Stäcker, Postmemory, 2012, C-type print, 30 x 40 cm, $500/$400 (framed/unframed), edition of 6. An environmental irony. Little stories drowned out by corporate blab. Do we believe what we see or what we are told? 24. William Seeto, Untitled (hwb red), latex and board, 47 x 36 cm, $440 25. Kathryn Ryan, Shoals of Numbers, Names of Fish, 2013, Sydney White Pages 2012/13, pins, labels, NFS 26. Kelley Stapleton, Oscillate, 2013, C-type print, custom frame, 80 x 105 cm, edition 1/3, $1100 Stapleton's practice is inspired by her experience of moving though the urban environment. Her photographs, drawings and installations aim to give the viewer an alternative way of seeing space. kelleystapleton.com 27. India Zegan, Museum of Fathers: Substrate #38, 2013, found photograph, pencil, plywood, recycled chipboard, builders bog, dimensions variable, POA Zegan's Museum of Fathers: Substrate #38 is the latest addition to her ongoing Museum of Fathers project. The object resting on the plywood shelf is an inverted knuckle buster made from recycled chipboard and builder's bog. 28. Christine Olsen, Insult Hurler, 2013, mixed media, for rent (POA)

An attempt to revive the fine art of the insult. 29. Emma Wise, Evacuation (Wednesday, 23 October 2013), things I chose to save from potentially catastrophic fire conditions in the Blue Mountains, conversation, video, one item for sale –Tango Peninsula, aluminium case with knots collected in Japan, $920 (30% to Rural Fire Service) I will be available for evacuation conversation in person on the opening night (6 Dec 2013) and the closing afternoon (22 Dec 2013), and on the phone at other times (0417 437 953). I can also show you the video I shot coming down the mountain on Thursday, 17 October, or you can see it via a link on articulate497.blogspot.com 30. Wendy Howard, Untitled, 2013, glass phials and mixed media, 70 x 8 cm, NFS 31. Nola Farman, The Cruel Sea, 2013, oil paint on paper, 60 x 42 cm, $480 32. Paul Sutton, By Chance 2, 2013, framed Lambda print, 39.5 x 52.5 cm, $480 This photograph was made using chance methods to determine what to photograph and when. Indeterminate factors were incorporated into the act of making photographs as a way of revitalising ways of seeing. 33. Michele Beevors, Pacifier 4, 2013, silicone, 13 x 77 x 13 cm 34. Laine Hogarty, Imaginary Topographies, 2013, cardboard, POA Clusters of boxes in local streets provide evidence of consumption. Our produce is sent off shore, our land is being sold to foreigners. I imagine the land sinking to reveal the sales pitch. Will our produce become homeless? 35. Elke Wohlfahrt, Indeterminately Scrunched, 2013, watercolour on rice paper, dimensions variable, $400 To continue the indeterminacy, I give permission to re-scrunch the piece (please don’t rip). 36. Steven Fasan, The Drinking Wall, (Free Home Installation Incl.), 2013, 220 x 85 cm, POA "Gone to the wall!" 37. Ling Yuen, Untitled, 2013, Duratran, perspex, readymade object, LED light, 22.6 x 33.5 x 10.7 cm, $550 38. Margaret Roberts, Architectural Compositions with Festivities, 2013, wood, multiples of approx. 47 x 34 cm, $50/single unit ono. Architectural Compositions with Festivities 2013 remake Wladyslaw Strzeminski's 1920s Architectural Compositions 1, 2a, 9c, 10c, 11c and 14d at half size, in wood instead of oil-paint on canvas, and with shapes separated by cuts instead of by colours. www.margaretroberts.org/Arch.html 39. Charlie Aarons, Shadows, 2013, double-sided A2 digital print, $350 40. Virginia Hilyard, Vulcan's Mirror, 2013, silvered glass, 70 x 50 x 0.3 cm, $333 41. Mandy Burgess, Slump, 2012, newspaper pulp, 90 x 70 x 100 cm, NFS 42. Jane Gavan, in altum fidem, 2013, glass, ink, water, rubber band, 27 x 27 x 7.5cm, $375 Towards high fidelity - a material metaphor for a catastrophic life event and how action may dilute its impact. This concentric clutch of glass tubes filled with ink, gradually fade from opaque back to clear. The precarious rubber band just holding it all together. The whole is bathed in the strong and constant light of promise. 43. Linden Braye, Paul McCarthy contemplates the Sold Dots with a Sideways Smile, 2013, faux fur, cardboard, wool, plastic, 100 cm x less, POA 44. Lynne Barwick, Two Measures Detailed, 2013, acrylic on linen board, install dimensions 51 x 61 cm, NFS 45. Kevin Sheehan, 39 step, 2013, various materials, dimensions variable, POA