Local Perth legends FORM have been creating better communities in Western Australia since 2006, believing that the best and most vibrant places to live are those that nurture creativity, great design, and showcase cultural diversity. Aside from hosting the official CWID Wrap Party, FORM was also featuring the unique Worn Land exhibit throughout the duration of #CWID16.
Worn Land is an installation exhibit that explores the disorienting intersection of desire and displacement that goes with the experience of a place. Running until November 17, Worn Land sees artists Yuko Fujita, Nicky Hepburn, Pennie Jagiello, and Natalia Milosz-Piekarska having created works in response to a series of residencies in the Pilbara region, with the results engaging with the elusive and ungraspable nature of the landscape, through explorations of materiality and scale.
Throughout the course of their residencies in the Pilbara, Fujita, Hepburn, Jagiello, and Milosz-Piekarska ventured into the most isolated parts of northern Western Australia and worked both with, and in response to, the materials located within these places, developing unique jewellery that works together with the knowledge of the land, and also manages to stand alone as a range of unique and arresting items.
The four Melbourne-based jewellers featured in the Worn Land exhibition have crafted a varied body of work inspired directly by the rich and vibrant landscapes of the Pilbara region.
“The Pilbara is a land I never see, there is nothing as beautiful as this, or at least not in the same way. It is raw and extreme. This is evident in the colours – they are extreme, and yet muted,” artist Nicky Hepburn said about her residency.
Exhibition curator Mollie Hewitt says that Worn Land was commissioned to explored the disorientating intersection of longing and displacement that can accompany non-Indigenous experiences of place throughout traditionally Aboriginal Australia.
“The Worn Land artworks have been created in response to the time these remarkable artists spent in the Pilbara, and the results engage with the landscape as ungraspable and resistant through explorations of materiality and scale,” Ms Hewitt said.
“Since early colonisation, Australian landscapes have frequently been conceived of as actively resistant to Western knowledge and the non-Indigenous body, a trope that persists even in contemporary explorations into remote and regional Western Australia.”