- December 27, 2017

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Paper Mountain is a Perth based artist run initiative with a gallery, co-working space (The Common Room) and studios, located in the heart of Northbridge, WA.

Open 9am – 5pm daily

Our address

Upstairs,
267 William St
Northbridge

Email: info@papermountain.org.au
Media enquiries: media@papermountain.org.au

From the mountaintop

  • 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.

    UNIVERSITY OF WESTERN AUSTRALIA

    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.


    EDITH COWAN UNIVERSITY

    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.


    CURTIN UNIVERSITY

    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


    NORTH METRO TAFE

    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.

    Footnotes

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

    Paper Mountain
  • Interview: Jacqueline Pelzcar


    Paper Mountain - October 14, 2017

    Jacqueline Pelzcar is an emerging Perth-based filmmaker who has been making her mark in the local industry as well as further afield, after several months spent working in New York this year. She is passionate about filmmaking not only as creative expression, but also for its potential to be used towards social change. Drawing on a range of influences and mediums, she has many exciting projects underway at the moment and can regularly be found working away at them in her cosy little corner of Paper Mountain.

    How long have you had a studio at Paper Mountain?

    Just since March, so just over 6 months.

    Do you feel like it’s changed or benefitted your creative work in any way?

    Totally. I’m definitely much more productive. I used to just have my studio set up at home and I just found I would never sleep. It’s nice to get out and have your space where that’s its pure purpose – just to create – and the all hour access when you need it is really handy.

    Now this is a pretty broad question, but ‘what do you do?’

    I’m a filmmaker. I kind of pocket myself as a ‘creative enthusiast’ so I will do anything creative. Definitely at the core of it I’m a director. I went to film school for two years and since then I’ve been freelancing within the film and TV industry. For instance at the moment, I’m working with an actress who’s also a performance artist and so we’re creating performance art on film.

    I love the way you say you’re a ‘creative enthusiast’ – that’s a good way of summing it up.

    Yeah that’s kind of how I like to market it. At the core of it my position is a director. The visual art exhibition I’m working on developing at the moment – it’s probably two years in the making but it incorporates dance and film and music all in one. I’m not necessarily a painter or an artist in that sense, I guess I’m more of a visual artist in a film or storytelling sense.

    Have there been particular influences or turning points for you as a filmmaker?

    In high school, I loved history and politics and law – I really wanted to be a human rights lawyer but my grades just weren’t high enough to get into law school. And so I started watching political documentaries and I was just like ‘ha – maybe this is the way.’ You can say whatever you want on screen, whether it be a documentary or a narrative feature or a short film or an experimental film. So I guess that was the pivotal point and then – finding out more about it; the history… now I’m just kind of addicted!

    How have you navigated building your career and your creative practice since graduating?

    I think the biggest thing for me was that I started working while I was at film school – I just started creating. I’ve actually gone back to lecture a couple of times at my old school and the one thing I said was that people recognise your passion and dedication before they even view your work. Even if you’re not producing that great of a thing right now, or if it’s not completely polished, they know that you’re gonna get to that high standard just by talking to you.

    What do you see as some of the rewards and challenges of creative work?

    I think the obvious challenge is that it can get you down. It’s this constant high and low of emotions. But every time someone has a little bit of faith in you or you prove yourself it gives you an affirmation that you’re on the right path – that this is really who you are. That to me is rewarding – getting to wake up and actively do something I’m passionate about every day. It’s like the greatest love affair I will ever have!

    — Interview and photo by Phoebe Mulcahy

    Paper Mountain
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