Contemporary art gallery ‘to become tourism drawcard’ in Adelaide

Posted September 19, 2017 15:32:47

Despite its reputation as a destination for arts lovers, Adelaide has for years lacked an internationally recognised, standalone gallery dedicated to contemporary artwork.

But that is going to change, with a competition underway for architects to design a new modern art museum to be located in the city’s east end.

The Adelaide Contemporary Gallery has been included in the State Government’s intentions for the redevelopment of the old Royal Adelaide Hospital site.

While plans for residential development have been downscaled, the site’s design will include the gallery and adjacent sculpture park at the eastern edge, near the botanic garden.

SA Art Gallery director Nick Mitzevich has long been calling for a separate gallery for modern art, pointing to its potential as a tourist attraction.

“To select a design team to come up with an innovative smart building that will be iconic for the site is a great step forward,” he said.

The selection process will be in three stages. Applicants will be invited to express their interest from next month.

Six architects will then be nominated to produce designs, before one is chosen next year.

Mr Mitzevich said the new gallery would complement the state’s main Art Gallery, which is only hundreds of metres away on North Terrace.

He said the gallery’s collection included more than 45,000 works of art that were worth nearly $1 billion.

“There are 4,000 works in the contemporary area and less than 1 per cent of it is on display,” Mr Mitzevich said.

“What we want to do is put that collection to work … and make sure it’s an important drawcard for the state.

“It’s an asset that we just need to leverage much more because the treasure trove of our collection is so profound … that we’ve got the collection for the building already.”

Topics: contemporary-art, arts-and-entertainment, healthcare-facilities, sa, adelaide-5000

Art exhibition closed for use of Indigenous symbol

Updated September 05, 2017 18:54:52

An art exhibition has been closed in Adelaide for appropriating a figure, which is sacred to Aboriginal people from the Kimberley region.

Adelaide artist Driller Jet Armstrong has had his show closed down early for appropriating a sacred aboriginal symbol.

The non-Indigenous artist said he was being “censored”, but Indigenous leaders have said images in the exhibition were offensive, and not his to use.

“I take these rock art images, I appropriate them and I re-insert them into the European landscape,” Mr Armstrong said.

The contentious exhibition Add-Original Art, which had been open for a month before it was closed, depicts the sacred cloud and rain spirits called Wandjina.

Wandjina are a source of cultural law for the Worrora, Wunambal and Ngarinyin Aboriginal peoples of the Kimberley, according to Worora woman and manager at Mowanjum Arts and Culture Centre Leah Umbagai.

“I feel sad because he is destroying something that doesn’t belong to people from the outside,” Ms Umbagai said.

She said customs regarding people from outside the community using the image were clear.

“Interpreting somebody else’s dream or story, telling the story of their country, telling the story of who they are, we are taught from a very young age that you don’t do that,” Ms Umbagai said.

‘Haven’t artists always borrowed and appropriated from other artists?’

Although Armstrong apologised to those who were offended by his work, he defended his decision to depict the Wandjina in his paintings.

He said artists throughout history have used images from Indigenous art.

“You look at Picasso’s African masks for instance, which are also inspired by Indigenous art,” Armstrong said.

He claimed reconciliation was a driving factor in his work, and expressed a desire to redeem himself for any offence that was caused.

“I want to eyeball the traditional owners and elders. I’d like to be made a member of their family if I can possibly be. That would be a dream for me,” he said.

Leah Umbagai said that if outsiders wanted to use the Wandjina symbol there was a process to be followed.

“People need to understand and go to the rightful people who belong to that and if he needed to do that he should have asked,” she said.

Not the first time

Indigenous Art Code CEO Gabrielle Sullivan said the Wandjina had been appropriated before.

She said Aboriginal and Torres Strait Islander peoples’ concerns regarding cultural appropriation were not being heard.

“When the artists who are the owners of that are saying ‘no, we don’t want you to do that — it’s not promoting aboriginal culture, it’s really offensive to us’ then just don’t do it,” she said.

Ms Sullivan also questioned Armstrong’s decision to defend his use of the sacred symbol.

“It’s like they feel like they’ve got the right to defend what they’re doing even though it has caused so much offence,” she said.

Armstrong said he would consult traditional owners before using the image again.

“I won’t be making new work, I shouldn’t think, using that image, until I’ve sat down and discussed this and come to some sort of resolution with the traditional owners,” he said.

Topics: art-history, contemporary-art, painting, indigenous-culture, derby-6728, adelaide-5000

First posted September 05, 2017 18:52:35

What Australian artists really think about art prizes

Posted September 05, 2017 07:30:00

Maybe it was a sense of superstition that made Richard Lewer enter his painting about the agony of failure into an art prize he’d missed out on three times previously.

But this time the Melbourne-based visual artist had better luck. His work, the Theatre of Sports — depicting 12 famous athletes in anguish after defeat — won the $100,000 Basil Sellers jackpot.

And when it comes to art prizes, failure — if that means anything other than winning — is by far the most common experience for those who throw their hat in the ring.

Alongside the lucky few who walk away with a cheque, and another select cohort of finalists who also get shown, there are hundreds of others who get told “thanks but no thanks; please come and take it away”.

Australia’s art calendar is dotted with hundreds of prizes, large and small. Several have prize tags of over $100,000.

The biggies include portrait competitions like the Archibald, the Doug Moran, and the Portia Geach, and landscape prizes like the Wynne and Hadley’s, along with the Blake Prize for Religious Art, and the new kid on the block, the Ramsay, for artists under 40.

Why enter your work in an art prize?

There’s no doubt that getting your painting up on the wall — or in the case of Sculpture By The Sea, your work along the scenic coastline of Bondi or Cottesloe — is great for an artist’s profile.

It may lead to the sale of the work or an invitation to take part in other exhibitions.

Most artists will say that this is the motivation, not the elusive prize.

But entering can be a very expensive business, especially for sculptors, who face heavy transport and insurance costs.

“Try hauling half a ton of metal around the country then footing the bill for insurance and the bump out, not to mention the install, all in the vague hope that you may win the elusive prize money.”
Frank, sculptor from regional Victoria

“Art prizes are hugely problematic, maybe even damaging to artists. The costs are enormous and then there are the vested interests of the judging panel.”
Lynne, art teacher in Melbourne

As a nation we love competition, says Art Gallery of New South Wales curator Anne Ryan, who curated this year’s Archibald Prize.

And when it comes to philanthropy, wealthy individuals like putting their money into prizes.

“When people want to give money to the arts, they often come to the idea of a prize straight away … it’s the idea that you can choose a winner and it’s an easy way of rewarding people,” she says.

But prizes can be a distraction from practice

While it’s great if your work chimes with the prize, the fact remains that entering competitions can be a huge distraction from an artist’s usual practice, as many try and make work that they hope will contain the winning ingredients.

“Don’t do that,” cautions Lewer. “Only [enter] if your work fits into the prize.”

Alongside painting and making video art, Lewer is a boxing coach, and feels a special affinity for the Basil Sellers Art Prize, which is funded by businessman, philanthropist and sports fanatic Sellers.

Lewer describes entering arts prizes as “a weird activity” that is good to participate in. He doesn’t believe winning changes your life — although the prize money enabled him to build a backyard studio.

And he points out that the deliberation of judges could depend on many factors, most of which will always remain opaque.

“I wanted a scorecard, but I never got feedback,” he says.

Prizes often mired in controversy

The Archibald has been dogged by highly publicised court cases and mud-slinging in its 96-year history.

And Richard Bell, the sole judge of the Sulman Prize, which is also administered by the Art Gallery of NSW, caused a storm in 2011 when he admitted he picked the winner of eight finalists by tossing a coin.

The gallery’s Ms Ryan says each work entered for the Archibald gets scrutinised for only a few minutes before being relegated to the “yes”, “no” or “maybe” corner.

But she believes that despite the pitfalls and flaws of art competitions, they give artists a chance for much-needed exposure.

“I’ve been entering prizes for the past five years; I never expect to win but always to be selected as a finalist. My hope is to bring my artwork of the attention of the judges and gallery directors and thus raise my profile.”
Leigh, Brisbane-based artist

“No art prize, no exposure. Some of us live for the art prize alone. Without prizes we’d be snookered. Long live prizes.”
Sally, Brisbane-based artist

The Archibald gets seen by tens of thousands during its three-month stay at the AGNSW, before heading on a nine-month tour of regional galleries.

Whether a small local show or a big exhibition, entering competitions can offer unrivalled opportunities in terms of being seen and maybe getting selected, Ms Ryan says.

“That’s gold for an artist,” she says.

Topics: contemporary-art, sculpture, visual-art, arts-and-entertainment, awards-and-prizes, australia

Museum on a mission to share Indigenous culture with the world

Posted August 13, 2017 07:48:20

The last place you would expect to find a priceless collection of Indigenous Australian art is a college town in the United States — but head to Charlottesville and that’s exactly what you will find.

The University of Virginia’s Kluge-Ruhe Aboriginal Art Collection includes hundreds of pieces from generations of Indigenous artists.

The museum’s curator Henry Skerritt said it was his mission to share the stories and culture of Australia’s first people with the world.

“The last time the planet saw this many extraordinary artists emerge in a 100-year period must have been Florence in the 15th century,” he said.

“There really aren’t moments in human history where the concentration of genius emerges like it has in Aboriginal Australian art in the last 100 years.”

More artworks than wall space

Kluge-Ruhe is the only public institution that focuses specifically on Indigenous art outside of Australia.

They have amassed a collection so vast, they don’t have the wall space to display it all.

“What we’re trying to achieve here is not about stealing away the treasures of an ancient civilisation,” Dr Skerrit said.

“It’s about providing a space where Aboriginal and Indigenous civilisations can present themselves to the United States.”

Travelling exhibition will bring a bit of Australia to America

Dr Margo Smith, director of the Kluge-Ruhe collection, has been working with the Buku-Larrnggay Mulka Centre in north-east Arnhem Land to organise an exhibition to travel around the United States in 2020.

“We do very special work with Indigenous artists in that we can offer an international experience for them,” she said.

“And we bring many artists and curators to our town to work within the University of Virginia.

“They are in many ways setting the tone, setting the parameters, for the knowledge that we’re sharing about their artwork with the world.”

In 2015, Dr Smith was recognised with an honorary Order of Australia for her efforts to promote Indigenous art and culture in the United States.

“We see that we have a special role to play, because most American’s will never get to Australia,” Dr Smith said.

“Whenever we’re thinking about our collection we’re really trying to connect to the source communities — the artists, the people who are knowledgeable.

“Not only about the past, but about the present production they’re doing.”

Breaking down stereotypes

The museum recently opened its doors to five American undergraduate students who curated one of the current exhibitions, ‘Songs of a Secret Country’.

For these undergraduate students, it was their first exposure to Indigenous Australian art — but already they are working to break down stereotypes.

India Ferguson, a student from Miami, said she felt closer to the artists through the curatorial process.

“They’re really different from how people originally think of what Aboriginal art would look like,” she said.

“Our main ambition in this exhibition is to show that these artists are really bold in their innovations.

“This is a community that I’ve never been exposed to.

“So the more I learn about her [an artist] and where she grew up, I get to learn more about what the community looks like, what kind of plants are growing there and what kind of lives the people live there.”

Topics: indigenous-aboriginal-and-torres-strait-islander, indigenous-culture, arts-and-entertainment, art-history, contemporary-art, united-states, australia

Cossack Art Awards breathe life into remote Pilbara town

Updated August 12, 2017 07:40:51

It is a town that usually resembles an abandoned colonial village of stone, but each winter the Pilbara town of Cossack transforms into an artists’ mecca for the Cossack Art Awards.

Thousands of tourists, grey nomads and aspirational local artists pour in to admire the works hung across the historic, hand-made stone walls.

Now in its 25th year, the awards have attracted renowned art figure and director of the Museum of Contemporary Art Elizabeth Ann Macgregor OBE, alongside previous Cossack winner Joshua Cocking and Indigenous artist Bianca Beetson of the Gubbi Gubbi people of Sunshine Coast.

Artists are keen to have their work recognised since the awards became a significantly acquisitive show on the national arts calendar.

Uniquely, only the first 300 artworks submitted are accepted — resulting in an eclectic blend of professional and amateur art on the walls.

Rugged landscapes from above

Painter Douglas Kirsop, a watercolour and oils man, visits the Pilbara each year and this year won the $8,000 Painting Pilbara Landscape category with his stunning aerial view of the country taken from a flight out from Port Hedland towards Karijini National Park.

Kirsop said he was attempting to capture the textural richness and ruggedness of the topographical view of light on land.

“I managed to restrict it to a more minimal gestural looseness and let it play back to me over time,” he said.

“I’ve always wondered what the Impressionists would have made of this country you know, being confronted with a landscape which is so vast.

“You’re trying to capture the scale of something which, when you’re confronted with it the first time, is very different from a European landscape which has been organized for centuries.

“Here, it hasn’t changed an awful lot.”

‘The sea is really turquoise’

Port Hedland artist Helen Komene’s career started copying comic books as a young girl.

Later in life, the Pilbara inspired her to take up pastels to paint the coast and the red rocky landscapes between Port Hedland and Newman.

“My favourite subject is absolutely the seascapes up here. Pardoo Station, 80 Mile Beach, even as far up as Broome, the sea is really turquoise,” she said.

“I spend a lot of time looking at the ocean, working out the reflections, the way the oceans move.

“Everyone thinks that pastels have to be blended … it’s a really fine balance between making stuff happen and letting stuff happen on the page.

“When you come down, you don’t blend as much and you really start to draw with the pastel and use finer strokes or longer strokes. It’s really more of a drawing technique.”

While seascapes are her favourite subject, she is keen to explore a “working man” theme in her future work, focusing on the people to give the Pilbara a voice through her painting.

Conceptual art on paper

Pilbara artist Carrie McDowell won the $8,000 Works on Paper category with her piece On the Land.

“I was very excited, I did not see it coming. I was inspired to enter as the Cossack Art Awards are a wonderful community event,” she said.

“The maps I used for the work were thrown out by the Mines Department. While mining damages the country in a spiritual way, it has also given a huge wealth.

“I have been very influenced by the Yindjibarndi people I work with and have always been fascinated by their aerial perspective of the land.

“It’s my whitefella interpretation of the land. They don’t have maps but they get around better than we do.

“When I am stitching away I am just in the zone, not working literally.”

The stitching depicts waterholes and the tracks depict the bulls’ impact on the land — a double-edged sword according to Ms McDowell.

“While they damage the land environmentally, they have been significant in the development of the Yindjibarndi people through their relationship to the pastoral industry as cattlemen,” she said.

McDowell has a sense of humour about a couple of minor vehicle accidents with cattle on the roads in what she calls “an intimate bovine relationship”, a term coined by a friend.

“I feel I understand the Yindjibarndi people through my work with them as an art teacher and facilitator. The Fortescue River area around Ethel Creek and Nullagine is their story that I now understand.”

Powerful portraits from the bush

This year the Best Overall category was won by Michelle Hawkins, a charcoal artist who studied at the Angel Academy in Florence, Italy.

Her winning work Lulu is a portrait of Margaret Mary of the Northern Territory.

After spending some time with Ms Mary on the floodplains, teaching her how to drive, Michelle photographed Margaret Mary before turning it into a charcoal drawing.

“I love to hone into the detail and create that perfection using the charcoal stick. I just think it’s magical,” Hawkins said.

“I think it also links in beautifully to the Northern Territory, the quality of beauty in the Northern Territory.”

Storytelling now forms an important thread in Hawkins’ journey to the Northern Territory from Paris and Melbourne since the death of her father.

After working with a fashion photographer and an opera company, Hawkins has chosen to take on a more personal journey to learn about Indigenous culture where storytelling is key to passing on knowledge, culture and language.

Iconic unionist’s story painted

Greg Taylor chose to paint the Aboriginal rights activist and communist Don McLeod (1908-1999) in a whimsical portrait.

“Don McLeod was a different sort of white man — one of the leaders of the Pilbara Strike of 1946 which was a movement to get equal pay for Aboriginal workers on pastoral stations,” Taylor said.

“He was also a member of the Australian Communist Party … I heard a story that he once travelled to Russia and was gifted 100 seeds from the black forest.

“He sewed the seeds into the lining of his jacket and managed to get them past our customs officers. Later, he planted a little Russian forest at Strelley, but the saplings were uprooted in a cyclone.

“It made me laugh to think of Don McLeod as a seamstress and a botanist. Perhaps he thought that his life wasn’t going to be enough and this absurd, fated forest would be his legacy.

“I thought that a childless man might be inclined to plant a forest at a certain time of his life.

“I was mainly thinking about this man who had devoted his life to helping unionise Aboriginal people to achieve a semblance of equality, who had this conviction and who was willing to go further than you or I.

“Who would go to lock-up and court. Who would take off his shoes for someone and leave himself with none.

“It’s much more complicated, of course. His life and legacy are contested like any history. I wrote his name in Cyrillic because I thought he would get a kick out of it.”

Indigenous collective impresses judges

Taylor is also the manager of Spinifex Hill Studios in Port Hedland and works closely with William Gardiner (Nyaparu) who won the $8,000 category Painting by Pilbara Indigenous Artist with his piece Thurla Glass.

Thurla Glass is the nickname given to Gardiner due to his poor eyesight.

According to Taylor, Gardiner — a Nyangumarta and Warman man — also draws on his early experience with the 1946 Pilbara Strike.

He often paints images from his jackaroo days on Pilbara and Kimberley pastoral stations.

“This is my life story that I’m telling you … some of these paintings that I illustrate is just to show that that’s how we used to live, mostly around this Pilbara area to Marble Bar,” Gardiner said.

“I like to draw this sort of things … I’m [teaching] my grandchildren to understand old sort of things like this, and my children they already know.

“After the [1946 Pilbara] Strike we were working there in Strelley and Moolyella, camping in the creek and trying to get a mineral out of the hills.

“We didn’t have a white colour body and we couldn’t go everywhere we wanted. We got chained up, around the neck sometimes. We didn’t get money for work.

“These are the sorts of [reasons] why we started the business of the Strike. We were a hard people out there. We got made hard by our lives.”

Taylor said the artwork of Gardiner offers an “almost miraculous insight into a largely underwritten and overlooked history and are a precious legacy for the nation”.

“Sometimes described by Gardiner as “drifters”, his subjects are typically cattlemen or mineral men who appear to be in between one thing and the next.

“The men, often alone and outside on a big landscape, sometimes come to us with specific names, but they more often preserve their anonymity.

“What is more consistent is their tuckered-out, worried expressions and teetering postures that imbue his work with a vertiginous air.

“While the strikers and their families were empowered through their movement for equality, the reality of the hard yakka that came with their relative freedoms is laid bare in these portraits.”

Fellow Spinifex Hill artist Doreen Chapman won the $10,000 Best Artwork by Pilbara Artist category with her untitled work described by the judges as “Abstract meets realism; deliberate, competent naivety”.

“As a deaf woman, painting is a crucial medium of communication and storytelling,” Taylor said.

Chapman is a Manyjilyjarra artist who has spent the majority of her adult life in Warralong, a community 120 kilometres south-east of Port Hedland.

She began painting with her mother and first exhibited with Martumili artists in Newman in 2010.

“Little girl she start painting, Warralong. She looking … looking … she quick painter. Quickly, looking, looking. No fishing, no hunting, no car. Painting, painting every day. You been bring ’em, she painting, painting, painting!” her mother, Maywokka May Chapman, said of her daughter.

Of the 300 entries in the awards, 121 were by Pilbara artists.

The 2017 show has also seen the inaugural Red Dirt Camera Club exhibit alongside the main event.

Topics: contemporary-art, indigenous-culture, indigenous-aboriginal-and-torres-strait-islander, arts-and-entertainment, cossack-6720

First posted August 12, 2017 07:31:51

Surry Hills laneway art project speaks the language of Sydney

Posted August 11, 2017 07:54:26

Perhaps somewhat recognisable as the face of this year’s Archibald Prize winning portrait, artist Agatha Gothe-Snape is making a permanent mark of her own on Sydney’s streets.

She has been awarded the second Sydney Biennale Legacy Artwork commission for a large text-based installation, titled Here, an Echo.

The giant lettering runs down the length of Wemyss Lane in Surry Hills and touches on the history and geography of the site.

“It’s a lane that is used, it’s a service laneway, there’s garages here there’s people sleeping here, a pub down there a hotel up there; and it’s a living laneway and I didn’t want to undermine that or impose anything on that,” she said.

“And I always want it to exist in that way. The bins, the grime, the dirt, the craziness of night time here… it’s all absorbed into the work.”

The text is printed on the lane using road marking materials and is part of the City of Sydney’s maintenance schedule.

“I guess I always wanted to think about public art as something that is in the world, in the city, that speaks in the city’s language. It’s really part of the fabric of the city.”

Gothe-Snape’s conceptual artworks include performance, workshops and even slideshow presentations which are attracting widespread recognition at home and overseas.

Artspace Sydney’s executive director Alexie Glass-Kantor said Gothe-Snape was redefining Australia’s contemporary art scene.

“She’s highly regarded by institutions, museums, biennials, collectors as a really extraordinary artist with a breadth of practice and one to watch,” Ms Glass-Kantor said.

Gothe-Snape and Cairns don’t compete

Gothe-Snape is the first Australian artist to have a curated solo work at the prestigious Mori Art Museum in Tokyo and a show coming up at the Frieze Art Show in London.

“She really has forged something of a unique path. She carries a huge amount of esteem and weight,” Glass-Kantor said.

“She’s someone who’s is highly regarded by artists and peers as a leader of contemporary art in Australia.”

Still shell-shocked after the attention she and her partner Mitch Cairns received after his painting of her won this year’s Archibald Prize, Gothe-Snape said she is not worried about her own practice being upstaged.

“I don’t feel threatened by it. We weren’t expecting to win and we weren’t expecting the full onslaught of attention,” she said.

“But really I just feel excited. It’s a real honour to be painted, to have all that time spent on an image of you.”

Despite their vastly different styles of art practice, the pair say they come from the same basic approach.

“Even though our works are completely different to the outside eye, kind of the same logic is used to make them both which I think is amazing,” Gothe-Snape said.

Cairns said: “Ultimately there’s a similar sense and goal in mind that you’re trying to crystallise something or that you’re trying to arrive at a point of clarity through all of the mess, and talk, and reference points.”

But they both stop short of using each other’s form of media to create art.

“Agatha works collaboratively with many, many people and I’m the person that wants to be in the room and shut the door,” Cairns said.

“I dipped my toe in that water and I think I realise that it wasn’t necessarily for me so much.”

“He’s not really a team player,” Agatha says.

Topics: arts-and-entertainment, contemporary-art, street-art, visual-art, surry-hills-2010

Art helping to rehabilitate prisoners in SA as participation grows

Posted August 06, 2017 10:21:43

For two hours every week, this 40-year-old woman spends her time at Adelaide Women’s Prison painting.

The prisoner, who cannot be identified, said it took her to a different place.

“It takes you away from being here and you picture being wherever you’re painting,” she said.

“I look at the painting and I’ll want to go there.”

Before landing in prison six months ago on remand for drugs charges, the mother of one had never picked up a paint brush.

Now her work is part of an exhibition at the Adelaide Festival Centre for the South Australian Living Artists Festival (SALA).

“That’s one reason I do so many programs offered by the jail, to fill my time with other things, thinking about other things. It’s definitely an escape,” she said.

“I’m still shocked that I could draw a cup, let along draw a picture that’s in an exhibition.

“It’s something that I wouldn’t have done otherwise. If I didn’t have it offered in jail it’s not something that I would have woken up one day and tried my hand at painting.”

She said the her favourite part was using colours.

“In here we’re sort of stuck in our grey outfits all day, every day,” the prisoner said.

“Then you get the paints and they’re all so bright, the colours, and you see what goes together well.”

Building confidence key to returning to society

Record numbers of prisoners from across South Australia have contributed to the exhibition this year, which has run for five years.

Art by Prisoners producer Jeremy Ryder said building confidence was important for prisoners returning to society.

“The key in the desistance process is being able to see yourself as something other than criminal but for other people to see you as something other than criminal as well,” he said.

There is a strong body of evidence suggesting engaging prisoners in art could help them cope with life behind bars and potentially reduce reoffending.

But the different works are not only for the public’s eyes.

“A lot of the art gets sent out to family and friends because how else are you supposed to maintain a presence in the lives of your friends and your family?” Mr Ryder said.

Female prisoner numbers increasing

After Victoria, SA has the fastest growing prison population in the nation and the number of female inmates in particular is rising.

“It shows we need to do more,” SA Minister for Corrections Peter Malinauskas said.

“What we’re going to be doing is making sure that we are providing the same amount of attention to our female prisoner cohort as we do to the males.

The state’s rate of reoffending prisoners is 46 per cent, but SA Government wants to cut it by 10 per cent by 2020.

The artist inmate at Adelaide Women’s Prison said she wanted to make the most of her time in jail through different educational programs and stay positive about her future.

“I don’t know whether part of my survival mechanism is partial perhaps denial,” she said.

“But I’m just hoping that in the end I’m going to have an outcome that’s going to enable me to get on, you know, with my life again and put this all behind me.”

Topics: prisons-and-punishment, law-crime-and-justice, contemporary-art, adelaide-5000, sa