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Studio residencies are a central tenet of Artspace’s program, offering ten rent-free studios annually; supporting and facilitating the professional development of artists at all stages of their careers, from emerging to established.
The One Year Studio Program allows artists to research and produce new works without constraint in an open and critically engaged environment, and offers ongoing advocacy and curatorial dialogue. In 2024, artists Jack Ball, Brian Fuata, Julia Gutman, Jazz Money, Thea Anamara Perkins, Gemma Smith, Leyla Stevens, Tina Havelock Stevens, Latai Taumoepeau, and David M Thomas take occupancy for a concentrated, twelve-month period in the newly redeveloped Gunnery building in Sydney’s Woolloomooloo, home to the not-for-profit contemporary art space since 1993. With a thirty-five-year sublease now in place, the Program will continue to support 350 artists with free studios over the next thirty-five years.
Artist studio, Artspace, Sydney, 2023. Photograph: Katherine Lu. Courtesy Artspace, Sydney and DunnHillam Architects, Sydney
From 174 applications this year, these ten artists represent the diversity of artistic practice across generations, career stages and artforms, and have demonstrated an ongoing commitment to their practice.
Ball works with photography and collage to create large-scale sculptural installations that explore the pleasures of messy materiality and trans intimacy. Fuata works in performance through live and mediated forms within the framework of structured improvisation. Gutman makes textiles that draw on the language and histories of painting, using her friends as models to respond to and reinvent the original narratives. Money’s cross-disciplinary practice speaks to language, narrative, and First Nations’ legacies of place. Perkins’ practice incorporates portraiture and landscape to question representations of First Nations peoples and Country. And Smith’s painting, sculpture, and site-specific projects explore the interaction between colour and surface, intention, and chance.
Stevens’ recent work focuses on matrilineal histories within Bali’s art canon and the shifting meaning of ancestral objects as they migrate through Eurocentric collection practices. Havelock Stevens’ practice encourages consideration of the social, environmental, and musical rhythms of life and place through still and moving image, improvisational performance, sound, music, and social engagement. Taumoepeau’s works in durational performance, often combine the ancient with the everyday, using Tongan philosophies to make visible the impact of the climate crisis in the Pacific. And Thomas’ multiform, thirty-year practice encompasses multiple modes of research, making, exhibition and performance to address primary philosophic concerns of alienation, happiness, and convergent technology.
