Studio 1 - Annika Romeyn www.annika-romeyn.com
Studio 2 - Carmel McCrow www.carmelmccrow.com.au
Studio 4 - Val Gee
Studio 5a - Angela Bakker www.angelabakker.com.au
Studio 5b - Sarah Murphy www.sarahmurphy.net.au
Studio 6 - Marje Seymour
Studio 7 - Tony Curran https://www.tonycurran.net/
Studio 8 - Jacob Potter www.jacobpotter.com.au
Studio 9a - Bronwyn Davies
Studio 9b - Jane Dunn
Studio 10 - Phil Page
Studio 11 - Fiona Little fiona-little.tumblr.com
Studio 12 - Jodie Cunningham www.jodiecunningham.com
Studio 13 - Robin Setchell
Studio 14(a) - David Hempenstall
Studio 14(b) - Mark Mohell
Studio 15 - Bronwynne Jones www.thunderthighsfashion.com
Studio 16 - Ellis Hutch ellishutch.space
Studio 17 - Hanna Hoyne http://www.hannahoyne.com.au/
Studio 18 - Di Broomhall
Studio 19 - Derek O’Connor
Studio 20 - Sara Wurcker https://wurkerstudio.com/
Studio 21 - Rose Montebello
Studio 22 - ANU School of Art & Design EASS Artist in Residence
Studio 23 - Sacha Pola www.sachapola.net
Studio 24 - Meelan Oh www.meelanoh.com.au/artsite/Home.html
Studio 25 - Kerry Shepherdson www.kerryshepherdsonart.com
Studio 26 - Katharine Campbell
Studio 27 - Andrea McCuaig andreamccuaig.com.au
Studio 28 - Elizabeth Faul www.elizabethfaul.com.au
Lightbox Studio 1 - Kate Vassallo http://www.katevassallo.com/
Lightbox Studio 2 - James Lieutenant http://www.jameslieutenant.com/
M16 Artspace has 27 non-residential studios for rent by visual artists and creative practitioners working in related fields. They range in size from 15 to 60 square meters and are designed to cater for diverse art practices. Studios are accessible 24/7 and all spaces are self-contained.
When a studio becomes available there is a general call out and all new applications are considered at the same time as the applications we have on file. Unless otherwise notified applictaions are kept on file until additional spaces become vacant. Applicants are selected based on quality of application, exhibition history and evidence of/potential for an active career in arts practice.
All visual artists or creative practitioners working in related areas can apply.
To apply please download a form from the following link http://www.m16artspace.com.au/down-load-application-forms/ and submit your application to email@example.com.
For more information about renting a studio space please call (02) 6295 9438 or email Jas Hugonnet at firstname.lastname@example.org.
Image: Greer Versteeg 2017
Within her practice, Annika Romeyn strives to connect the realms of micro and macro, representation and abstraction, working across printmaking, drawing, and watercolour to create work about being in the landscape and the experience of wonder and mutability that comes with a close and patient observation of nature. Currently focusing on sheer cliff faces, eroded gullies and twisted trees - fallen or teetering on the precipice, Annika's work speaks to power, impermanence and the precarious state of our natural environment.
Travelling widely, Annika's active exploration of ‘wilderness’ areas by foot, kayak and raft has resulted in an enduring fascination with dramatic rock formations as humbling signifiers of elemental dynamism and geological time. She is interested in the difficult beauty of the Australian landscape, in grappling with signs of rawness and damage, as well as capturing moments of transcendence where the earth appears alive with layers of complexity.
Annika is represented bu Flinders Lane Gallery, Melbourse
Carmel has been a practicing painter for 25 years, and previously in Sydney, a Graphic Artist for 25 years. Original training was at - what is now - the National Art School, Sydney, followed by time in the UK working as a Graphic artist and flight crew with British Airways. Later years led to a move to the Snowy Mountains, and whilst there, completed a Certificate in Painting and another in Drawing at NSW TAFE. On moving to Canberra, McCrow completed a Bachelor of Arts (Visual) at the Australian National University in 2004. Since then, the artist has participated in numerous group exhibitions and seven solo shows. The artist has held studios at both ANCA - where she produced large scale oil on canvases - and now M16 Artspace.
image Liquid Gold, oil and acrylic on canvas, 90 x 10 cm
With an interest in process-orientated repetition, building material density and optical perception, Kate Vassallo is currently focusing her practice on drawing. Translating repetition, geometry and colour theory into highly visual forms, she designs materially driven systems to work within.
Kate Vassallo is an Australian visual artist. She graduated from the ANU School of Art in 2010, with First Class Honours and a University Medal. Though currently based in Canberra, Vassallo lived and worked in Sydney from 2011-2018. She has exhibited extensively throughout Australia, including solo exhibitions/performances at Firstdraft (Sydney), Kings ARI (Melbourne), Canberra Contemporary Art Space and the final exhibition ever held at MOP Projects (Sydney). She has also been curated into festival programs, like Critical Animals at TiNA (Newcastle), You Are Here (Canberra), Art Not Apart (Canberra) and Free Fall at Oxford Art Factory (Sydney). Her drawings are held in the Artbank national collection and private collections throughout Australia and the USA.
Vassallo also has a collaborative practice with fellow visual artist James Lieutenant. When collaborating, the pair makes large-scale graphic wall paintings that respond to architectural spaces. Together the pair has exhibited projects at Artbank, Canberra Museum and Gallery, Bus Projects (Melbourne), Archive Space (Sydney) and Canberra Contemporary Art Space. They have completed a number of public and private commissions, including permanent public art installations in Goulburn and Sydney.
Image: Kate Vassallo, Orchids, (2019), coloured pencil on paper, 100 x 75 cm.
I am a Canberra based artist working across a range of media from precious metal through to glass and photography. I have qualifications from the School of Art, ANU in both Photomedia and more recently Gold and Silversmithing. Currently the focus of my work is in exploring simple forms, shapes and lines, and how these interact with each other and the spaces in which they are placed or installed. I find lately I am increasingly going back to utilising my photographic skills to both create works, and document other artist’s works.
Image Moebius Pendant (commission) 2013 sterling silver (925)
I am passionate about metal and glass. I enjoy exploring the way a particular metal behaves and nurturing that quality through the traditional practices of forging, raising, melting and fusing. With an extensive background in glass flameworking I am continually looking at the relationship between metal and glass and the use of glass in contemporary jewellery.
My work reflects and explores the contradictions that emerge between the relative flatness of the metal and the three dimensional aspect of the glass shapes I use.
The excitement of starting a new project and overcoming the challenges encountered throughout the making process lead to the final sense of satisfaction achieved when the finished object may be held and admired.
Functionality is a fundamental aspect of my work, and often the driving force behind it however I enjoy the expression of form, thought and sensation that may be freely executed through the manipulation of metal.
My work needs to be aesthetically pleasing with visual strength in the balance of line, form and proportion.
Sarah is represented by Bilk in Canberra
Image Sarah Murphy Empty Nest 2015 mild steel,stainless steel. Photo: Angela Bakker
RECONCILIATION-Winter 2019: Reconciliation series are works began in response to the 2016 week dedicated to the ideal and pursuit of Reconciliation. The works both celebrate, and anticipate a Reconciliation process which will address the sad legacy of colonisation and bring a broader recognition and dignity to the First People of our land. The theme of landscape invites an enquiry of how we impact on the lands we share
LANDSCAPE SERIES CONCEPT: Extending on the works from the solo exhibition insideCONSCIOUSNESSoutside (2012) the series since have explored landscape through intentionality of consciousness as it emerges as impacts and consequence to our land and environment. The continuing theme includes personal and acutely experienced mining in Kalgoorlie and Coolgardie in W.A., through to the ‘new hills’ being rebuilt within the technologies of waste disposal near to home juxtaposed to the pristine and ancient apparent in Gibraltar Falls in the A.C.T. Each work looks to the intention and conscious commitment to preservation and conservation of our land and harmony and celebration of our multi cultures into the future.
All works explore the communication and empathetic viscous and chromatic properties of impasto layered oil paint and/or thinly layered oil glazes or mixed mediums including collage. Scale has become inherent in expressing the massiveness of impact of consequence to the land out of the subliminal to conscious intentions which motivate and drives the contemporary devolvement of millennia of geological evolving
Image Marje Seymour RECONCILIATION, 2016, diptych, oil on canvas, 2M x 1M , Photo B McGeachie
Dr Tony Curran is a practicing artist looking specifically at contemporary representations of the figure. . His research has investigated the role of participation in portraiture and figurative art through producing in-situ life drawing performances at Australia’s National Portrait Gallery, the Wagga Wagga Art Gallery the Museum of the Riverina and Fraser Studios. In 2014 Curran was shortlisted for the Brett Whiteley Traveling Art Scholarship and in 2015 was a finalist for the Archibald Prize. Curran lives and works in Canberra where he teaches sessionally in Painting and Foundation Studies at the Australian National University School of Art. Tony Curran also teaches at Charles Sturt University in Drawing and Art History.
Image Tony Curran, Luke, 2015, oil on linen, 113.5 x 83.5 cm.
Jacob creates assemblages of paint and found materials that change dramatically throughout their construction. Combining planned and unintentional mark-making, canvases are worked on the front and back, taken apart, openings cut into the surface and sewn back up again.
Jacob challenges the conventional notion of painting by expanding the flat picture plane into a sculptural construction.
image: Jacob Potter, Inout, 2015, acrylic, mesh and canvas mounted on wooden stretcher bar
My working life has been in Graphic Design. I am presently developing my painting and printmaking practice at my studio at M16 Artspace. My practice involves drawing directly from nature, then experimenting with oil paints [from these drawings] in my studio. This gives me the opportunity to explore the subject matter and In addition, I use various printmaking processes which enable me to simplify and abstract the information. I use Megalo Print Studio and Gallery on a regular basis, exploring with various etching, woodcut and lino cut techniques. Here I can experiment with colour, tone and texture in a variety of ways, then proceed into other mediums.
I have a strong spiritual connection to the Australian landscape and therefore like natural found objects to paint on and print from, including mountain ash fence posts, bark, lotus leaves and eucalypt leaves. I find that printing directly from nature and painting onto textured wood lets the physical experience become part of the artistic process and product.
Bron Davies is a Canberra-based artist who has worked with various mentors since the 1990s to produce her artwork. From 2006 she has utilised a studio at M16, and has exhibited here in several group exhibitions since.
A solo exhibition Abstract Expressionism was held in 2012 at M16.
Bron has continued to experiment with distortion, and explores styles and mediums of the Impressionists and the Fauves.
In 2013 and 2014 she completed a commission to make a large mosaic mural for a courtyard wall in Croatia.
While most of her works are acrylics and mixed media on canvas she also works in printing techniques including linocut and woodblock single and reduction prints.
Recently she has expanded her printing practice to include screen printing, where she uses images from her paintings in her designs for printing onto fabric. The plan is to then use the fabric in the restoration of Art Deco furniture.
Her work is found in collections both in Australia and overseas.
Image Bron Davies Garden Series 2 mixed media on canvas, 101 x 101cm
My original training was as an architect and I practised actively in that profession until 2007. Since 2010 I have been primarily studying painting at the ANU School of Art +Design. In 2011, I completed a Graduate Diploma in Visual Arts and am currently in the last months of the PhD program in the Painting Workshop. The themes of this project are centered specifically on the portrayal of the urban environment of European cities and my reactions to it. I use the characteristics of these cities, and my reactions to them, to drive the composition of my paintings. My work builds an overall image using fragments and layers of figurative imagery of cities together with gestural marks. They generally involve an ongoing dialogue between line and shape, and between drawing and painting. The final works show what I know and what I remember about cities and the process of making them.
I expect my painting practice to continue on this trajectory interrogating the boundary between drawing and painting in imagery of the built environment.
Image: Paris Aerial 2, 2017, acrylic on canvas, 91 x 125 cm; photo courtesy of David Patterson.
I make paintings and drawings using acrylic paints, gel pens, paint markers and pencils. My paintings could be described as hard-edged, geometric or non-objective abstraction. They are non-representational. I start a work without any source material, often with an idea of a compositional structure. Almost always the structure and ideas transform throughout the process of making. The relationship between myself and the materials is important. I love the tactile nature of paint, the colours, potential textures and the perceptual qualities that can be created. Often I work in a process that involves many layers that are built up over time. I can obliterate entire layers and this builds up a textural surface. I enjoy the lengthy process of building up paintings over days, weeks and sometimes months. It is this time that enables me to work through colour relationships and compositions, searching for what is important in a painting.
Image Fiona Little Material Grid painting (4) 2015 acrylic on wood 60 x 55cm
A self confessed chromaphile, Artist Jodie Cunningham has an obsession with colour, circles, pattern and the delights of perspex. She trained as a painter and also works with drawing, digital imaging, sculpture, installation, public art, jewellery and design. Her work deals with the themes of abstraction, symbolism, ornamentation, colour, play, place, community, architecture, emotion, memory, sustainability and transformation.
Cunningham has exhibited her artwork widely in solo and group exhibitions in Australia and the USA for over 25 years. She regularly exhibits in group exhibitions and her last major art exhibitions were a solo exhibition of images about transformation, ‘ Bloom’ at M16artspace, ‘Talking to the Tax Man About Poetry- Artists Data Portraits-Unsustainable Realities' Stage Installation for the Art Not Apart 2018 and ‘We Dance together’ a public art graphic installation in Civic Square for the Design Canberra Festival 2017.
Jodie has been the recipient of several prestigious awards including the Fulbright Scholarship- Visual and Performing Arts Category, Rotary Ambassadorial Scholarship and the University Medal in Visual Art, Australian National University (ANU). Cunningham has a Master of Fine Arts Degree, University of New South Wales; Bachelor of Visual Art, ANU.
Image: Jodie Cunningham, 2018, A little much for me, Digital print on fibre rag 310gsm.
Robin seeks to capture some of the many places she has visited and photographed around the world and Australia, by translating her work into various media. As well, she is interested in portraiture and abstract work. Other mediums include gouache, pastel and water-based oil.
Image Robin Setchell, Irises, 2018, 38 x 38 cm, watercolour on paper
Bronwynne is a Fashion Designer and Jeweller and is know by many names with the number of labels; Thunder Thighs Fashion, Infinitie, the Alchemy Steampuck Emporium.
Image: Curvature couture, exhibition opening night 2018.
Doug Hall, Studio Vita.
Hanna Hoyne has an established practice as a sculptor, designer and performance artist exhibiting in Australia, and internationally. She has also worked in a variety of other art educational roles at the University of Canberra, National Gallery of Australia, Canberra Museum and Gallery, the YWCA Canberra and Artplay in Melbourne.
Image: Hanna Hoyne, Model for The Peoples' Voice, 2019, reclaimed cardboard, plastic, prayer-paper, varnish, 40cmx60cmx25cm.
Di Broomhall studied at the National Art School in Sydney, the Canberra School of Art in Ceramics, Charles Sturt University and at the Kathmandu School of Thanka Painting, Nepal. Broomhall has been a practising artist and educator for over 30 years and works from a studio at Canberra's M16 Artspace. She has taught in various institutions including the Australian National University in Ceramics.
Since completing a Masters in Visual Arts with Distinctions from CSU in 2001 she has drawn on this complex background in art theory and practice. Study and practice in one of the most elusive of ceramic techniques; atmospheric lustre firing has evolved into a way of working with paint that crosses through drawing, clay work and painting. Her canvases are thoughtful, energetic and speculative.
She says of her paintings“Theyare songs constructed out of time and lightand materiality and the transience of things. Of the beauty and integrity of life and of the stories of our becoming and being and becoming anew.”
Born in Warwickshire, England in 1957, Derek O'Connor moved to Adelaide in 1969, and today lives and works in Canberra.
From 1992 to 2015, Derek has held annual exhibitions at Legge Gallery, Sydney and at Helen Maxwell Gallery, Canberra, as well as major solo shows in Melbourne such as Derek O'Connor, Karen Woodbury Gallery (2004) and Reciprocal Translocations, First Floor Gallery Melbourne (2001). Most recently his work was exhibited in Derek O'Connor: 10 Year Survey Exhibition, Canberra Museum and Gallery, Canberra (2007/08).
He has also participated in numerous group exhibitions including Derek O'Connor & Marie Haggerty, National Gallery of Australia, Canberra (2007); Mosman Art Prize, Mosman Art Gallery, New South Wales (2007); Arthur Guy Memorial Painting Prize, Bendigo Art Gallery (finalist) (2007); Del Kathryn Barton, Cathy Blanchflower, Derek O'Connor and Monika Tichacek, Karen Woodbury Gallery, Melbourne (2004); Scratch the Surface: Recent Portraiture, Canberra Contemporary Art Space (2003); It's a Beautiful Day: New Painting in Australia 2, Ian Potter Museum of Art, Melbourne and Art Gallery of New South Wales, Sydney (2002-03); The Redlands Westpac Art Prize, Mosman Art Gallery, New South Wales (2003); On the Brink: Abstraction of the 90s, Heide Museum of Modern Art, Melbourne (2000); Recent Acquisitions, National Gallery of Australia, Canberra (1997); and the Moët & Chandon Fellowship Touring Exhibition, Australian state galleries (1993). Velocity Drill Hall Gallery Canberra Curator Terrence Maloon.
Over the past decade, Derek has received several grants and awards. Of particular note are the Capo Fellowship Award, Canberra (2007); Canberra Contemporary Art Space Inaugural Art Prize (2003); Individual Artist Grant, Department of Arts and Culture, Canberra (1998); and the Pat Corrigan Award for Exhibition Development (1995).
His work is held in major public galleries, including the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne; and the Canberra Museum and Art Gallery, as well as important private and corporate collections such as ABN AMRO, Renzo Piano Building, Sydney; Art and Australia; Artbank; RACV Art Collection; Pan Pacific Collection; and Austcorp. Woolongong University
Image, Iced, oil on canvas 2007 1171 x 1171 cm
Rose Montebello’s intricately cut and layered works of art examine human experience, temporality and transcendence. Montebello draws on images of landscape, the animal kingdom, weather or events in the natural world for their ability to invoke associations between the terrible magnificence of nature and the internal landscape of emotion and experience. Recent works use found images selected from vintage encyclopaedias as a starting point. The original images are altered through the processes of reproduction and dissection before being reconstructed into geometric collage or layered assemblage.
Rose Montebello is a print based artist who lives and works in Canberra. She completed a Bachelor of Arts (Visual) with Honours in Printmedia and Drawing at the Canberra School of Art, Australian National University in 2000. Rose has exhibited consistently throughout Canberra and its surrounding regions since graduating.
Image Rose Montebello Safe Passage 2014 laser copy prints, paper, wood 23 x 45 cm
Meelan Oh was born in Singapore. She completed a diploma in Graphic Design in Nanyang Academy of Fine Art and worked as a graphic designer in Singapore. Her interest in book illustration and drawing led her to study printmaking in Canberra. She graduated in 2006 from ANU School of Art with first class honours in printmaking and winning three EASS Awards. Oh’s work include drawing, printmaking and paper-cutout. Her work explores the theme of memory, identity and place, using culture and nature images as a starting point to create beautiful and intricate works.
Image Foliage in late autumn 2014 Charcoal on paper 56 x 76 cm
Kerry completed her Bachelor of Visual Arts with Honours in 2004 at Australian National University, School of Art, an EAAS and Alliance Francais award recipient, followed by her Master of Philosophy in 2011. Since, Kerry has had 4 solo exhibitions including Canberra Museum and Gallery /Nolan following a three month pilot artist residency, at the Lanyon Homestead Heritage Precinct. Currently a practicing studio artist, Kerry has been exhibiting interstate and overseas, including regular participation in ANU field studies in which artists are asked to respond to the environment.
Kerry Shepherdson explores abstraction in acrylic painting through complex, apparently chaotic but fundamentally ordered mechanisms of growth in nature, and more recently the perpetual undulating currents of the vast landscape of the oceans. A profound sense of history and human minutia and vulnerability in the scheme of things is a constant inspiration. Her underlying influences reference the arts and crafts of Asia and Africa where she lived for many years, particularly her opportunity to study in depth water colour and ink Chinese Brush painting.
Her works are multilayered and metaphorical, referencing systems developed in contemplative autonomic processes arriving at complex visual syntheses of colour and light, irregular pattern and compositions that allude to underlying geometry.
Image Kerry Shepherdson, Drift 2015, acrylic on canvas, 100 x 100 cm.
Katharine Campbell is a Canberra based artist who graduated from the ANU School of Art in Printmedia and Drawing.
Site investigation and observation within the Australian landscape has always been fundamental to her work. The use of a physical site or landscape provides a framework in which to explore personal responses to the environment. It is the dimension between a visceral response and an observational view, which she finds fascinating and also quite intangible.
In the studio, elements of the landscape are explored working on larger drawings in more detail. Utilising printmaking techniques such as etching allows her to explore the displacement of space and the reconfiguration of the natural environment.
Image: Katherine Campbell, ‘Ediface 1 ’ (detail), graphite on paper, 226cm w x 75.5cm
Andrea McCuaig creates large-scale contemporary abstract paintings on canvas. Her technique employs gesture and colour at its heart to express the vibrant energies felt when dancing. Andrea’s recent works extend the central theme of dance and combine gesture inspired by the aural experience of performing with music. These works present kinaesthetic traces of live movement in line and gesture with layers of veiled colour that merge and separate across the canvas surface.
Andrea McCuaig is a graduate in Fine Art Painting and Graphic Design she has exhibited within Australia for the past 13 years and holds collections in Canberra, Sydney and Melbourne. Andrea is currently a Candidate for Doctor of Philosophy in Visual Art at the Australian National University.
Image Andrea McCuaig, Prelude to zen I, 2014, acrylic on canvas
My arts practise is in collage and my work is abstract with representational elements: favourite media are gouache and/or acrylic and graphite on paper applied to canvas. My background is in calligraphy and graphic design and typography makes a frequent appearance in my work: from hand lettered formal capitals and historic scripts to free pen work and printed pages from old books. My favourite subjects are dogs, people and places I’ve visited.
Image: Elizabeth Faul, Morning Light, 2019, biro on board: 50 x 30 cm.