Centre for the Arts
Hunter Street, Hobart
Foreword: Paul Zika, Text: Brigita Ozolins, Leigh Hobba.
16-page catalogue: ISBN 0 85901 962 4
Nathalie de Briey’s Residency at the Tasmanian School of Art at Hobart, University of Tasmania is the last in a series of highly successful residencies funded by the Scottish Arts Council over the past eight years, Initially the Residencies were of twelve months duration commencing with Kevin Henderson in (1993) and followed by Anne Morrison (1994-5), Claire Barclay (1995-61). and Stephen Hurrel (1997). Time spent in Australia was shared equally between Hobart and the Canberra School of Art. The arrangement then changed to two shorter residencies (3 or 6 months) each year – one at each institution, Mandy Mclntosh (1999), Samantha Clark (2000), and Nathalie de Briey (2001) were the subsequent Hobart residents. The artists were selected by the host institutions from a short list forwarded by the Scottish Arts Council. The Scottish Arts Council provided a generous stipend and travel allowance and the two schools provided accommodation and studio space, Importantly the Plimsoll Gallery at the Tasmanian School of Art also provided an exhibition opportunity for each resident on its annual public program – either as a solo show or as part of a curated group show developed around the practice of the resident. Morrison, Hurrel, Mclntosh, Clark, and de Briey had solo shows, while Henderson participated in ‘Instal X 4’ (with Fiona Gunn, Peter Hill and Oonna Marcus) and Barclay was in ‘tangibility?’ (with Stephen Bush/Jan Nelson and John R Neeson) Hurrel’s installation ‘Interface 2’ coincided with the survey exhibition ‘Out of the Analogue’, The Plimsoll Gallery published catalogues to accompany each of these exhibitions. Beyond their involvement within the immediate art school environment, each artist made an impact upon the broader cultural life of Hobart either through CAST (Tasmania’s Contemporary Art Space), Hobart’s ‘Summer Fringe Festival’ or by participating in the activities of particular clubs and societies, All have made subsequent returns to Australia (and Tasmania) exhibiting in a range of venues and group exhibitions, There has also been a steady flow in the opposite direction, by both staff and students, boosted by contacts and institutional links established through the residencies, Scottish Arts Council funding priorities have now changed; essentially in response to a request for greater flexibility for Scottish artists choosing overseas destinations – they don’t all want to come to Australia but hopefully an informal exchange will continue to grow. The program has had a fantastic impact upon the school and Hobart and Peter Hill’s contribution in encouraging the Scottish Arts Council to initiate the program should be acknowledged. Paul Zika – Chair, Plimsoll Gallery Committee