2017 Artsource Industry Awards

Paper Mountain - December 27, 2017

We are pleased to share with you the winners of the 2017 Artsource Industry Awards. They are:

  • Reegan Jackson from UWA
  • Shona McGregor from Edith Cowan University
  • Agnes Botman from Curtin University
  • Eric C. from North Metro TAFE

These winners will each receive a professional membership with Artsource for a year and a three-month studio residency with Paper Mountain, broadening and enriching Perth’s artist community. As Paper Mountain’s mission is to nurture experimentation, to challenge artists’ practices, and to encourage collaboration and skill/resource sharing, a residency with us ensures those involved continue to flourish in an environment comparable with their tertiary education. Located in Northbridge, Paper Mountain provides winners with close access to many of the art and cultural establishments at the heart of Western Australian art scene.

This is the second year Paper Mountain has teamed with Artsource by opening both studios and its exhibition space to the four winners, giving an essential career foundation to these burgeoning artists. The Artsource Industry Awards were established over a decade ago to give the most industry-ready graduates from the art faculties of Curtin University, Edith Cowan University (ECU), North Metropolitan (TAFE) and the University of Western Australia (UWA) an opportunity to gain a foothold in Western Australia’s professional art industry.

Read on to learn about the winners and their work.


Winner: Reegan Jackson

(Nominees: Rebecca Stanwell Wilson, Jillian Betterton)

Reegan Jackson writes of his work Rainfall:

“This installation is composed from an array of materials and objects that are appropriated and structured to texturize environments that are part of an interconnecting environment, the digital spaces, natural organic landscapes, and developing human habitats.

Placing between process and origin the artist’s studio grounds for the hybridity between materials and consciousness, disengaging an ephemeral relationship to the environments we interactive with.

By applying states of becoming and un-becoming with the use of sound, colour and form in erupt discontinuous subjects of materials, it provokes a reconnection to conscious engagement with the multidimensional aesthetic ecosystem.”

Reegan Jackson, Rainfall, 2017, multi-media installation. Image courtesy of the artist.


Winner: Shona McGregor

(Nominees: Caroline Goodlet, Ruby Darge)

Lost in Translation is an exploration of the nature of perception via experimental, physical process. Inspired by the miniature landscapes of overlooked spaces, the paintings allow the viewer to be drawn into a world of their choosing; a moment in time, a product of the imagination.

Shona McGregor, Lost in Translation #1, #2, #3 & #4, 2017, acrylic and oil on marine ply. Image courtesy of the artist.


Winner: Agnes Botman

(Nominees: Sam Bloor, Aya Jones)

Agnes Botman writes:

“This project is an investigation into painting as a gendered medium. My key areas of focus are the support, mark-making and display of paintings. The male-dominated history of painting can be seen as manifesting itself in the rectangular, upright support, and in hierarchies of materials and mark-making.

The bed sheet was used as a reference point for exploring alternative forms of support. The soft, draping, non-rectangular form of the sheet was intended to relate to and contrast the traditional stretched canvas.

The use of the sheet led to an interest in the stain, and how some stains are inherently gendered, such as the period stain. Also implicit with the stain is the idea of cleaning, which is traditionally “women’s work”, contrasting the idea of the male artistic master. This idea informed my investigation, where I aimed to paint ‘badly’ – using stains and improper supports – as a method of disrupting the masculine institution of painting.”

Agnes Botman, Drape/Droop, 2017, Mixed media on dropsheet. Photographer: Carly Lynch


Winner: Eric C.

(Nominees: Cian Holt, Stephanie De Biasi)

Eric C. writes:

“Patchwork quilts left to me by family are a legacy of textile, art and craft, politics and culture. These quilts are, as Rozsika Parker puts it in the Subversive Stitch, “steeped in the personal, yet shaped by the political.” [1]

My body of work is an example from an ongoing investigation of exploring the idea of passing down of skills, or lineage in my own experience of patchwork quilting, as well as that political heritage of making textile art post second wave feminism; where the fibre art movement set a precedent for both men and women textile artists.

The works A Crafting Empire and Comfort of Legacy recognise that vast cultural history of patchwork quilting, while the work Why do we Craft? delves into my personal family history of crafting.”

Eric C, The Crafting Empire, 2017, oil based prints on tissue paper, cotton thread. Image courtesy of the artist.


[1] Parker, R. (1984). The Subversive Stitch: Embroidery and the Making of the Feminine. I.B. Tauris London: Norwich