vivonne thwaites
curator

 

 

sera waters

 

artwork

Things Happened, 2010
Card, teatowel, cotton, wooden beads, trim, stuffing
50 x 22 cm
Photograph Grant Hancock

artwork

Great Australian Bite: Cavernous, 2009-2011
Linen, cotton, crewel, beads, sequins, trimmings, chain, card, stuffing, leather, felt
84 x 65 cm
Photograph Grant Hancock

view 2010 artworks


 

artist statement

This collection of wall-hangings arise from my curiosity with local myths, histories and narratives to do with the Australian bush and interior; in particular stemming from research into explorers (especially Burke & Wills and John McDouall Stuart), BBQ culture, screened tales such as Underbelly, and my own family history. Each work, whether a biting set of teeth or a blinding glare, is about being here and being human (including the animal within) and the struggle to survive (emotionally and physically) in this hot, harsh and unpredictable land. The bared teeth in particular are quasi portals for journeying into multiple temporalities; back into our collective past, into horror-filled fictional bush tales, or our own encounters in the bush. They are also a way of showing power and an instinctive reaction to danger; to growl, to bite, to eat, to do anything to survive. The sun glare similarly causes us to stop; our vision is repelled, we are blinded to what lays ahead and are forced to flinch and look away. The sun and its rays give and take life rapidly here. There is a ferocity and brutality that lurks within these works, one I find lives within numerous Australian narratives, including that of my ancestors who took great risks (even living in caves) to sustain their family life.  These battles were costly however, to their bodies, their minds, their relationships, and no doubt to others.

Materially, each of these works is laboriously made from methods once associated with ‘home-craft’; embroidery and blackwork, with cottons, beads, sequins, linen, and printed fabrics, and most importantly, time. Due to this materiality they can be read as strange offerings and craftings that have transpired from a domestic or inside state, made slowly and reflectively in order to ponder, confront and fathom encounters with our world. In particular the colours - pearly white and cream teeth with off-coloured blemishes, against colours like desert sand, greens of the bush or the high blue sky – meld body with place, transforming all into a terrain to negotiate and work through. The fine embroidered and embellished qualities are disarmingly distracting from the overall depictions of strong sunlight and wild mouths which are about to bite or swallow….just who or what (and where the eaten would eventuate) is unclear… but these works are at once delicate, brutal, darkly humourous and affronting. 


 

sera waters - cv

Short Biography

Sera Waters is an Adelaide-based practicing artist and arts writer whose work is often imbued with dark meticulousness. She has spent time living in Tokyo and is a graduate of the Bachelor of Visual Arts (Honours), South Australian School of Art, (1997-2000) and the Master of Arts (studies in Art History), Adelaide University (2003-2006). She has been exhibiting regularly since graduating and being selected for Hatched, the National Graduate Exhibition at PICA (Perth Institute of Contemporary Art) in 2001. In 2006, Waters was awarded the Ruth Tuck Scholarship, which enabled her to attend the Royal School of Needlework (Hampton Court Palace, Surrey, UK) to study hand embroidery. This experience is clearly evident in Waters’ practice, which regularly explores and challenges stitched techniques. In 2009 three of Waters’ blackworks, from her Crooked Lineage explorations of petty crime, were selected to be exhibited in Talente, in the International Trade Fair, Munich. Waters is a current studio member of The Incinerator, Thebarton, and lectures and tutors in art history and theory, at Adelaide Central School of Art and the Art History program, Adelaide University, respectively.

Four of Sera Water's works have been acquired for a collection of women's art held at UWA.

1979 – Born Murray Bridge, South Australia
Lives Adelaide, South Australia

EDUCATION
2006 Embroidery Summer School courses, Royal School of Needlework, Surrey, UK
2003-2006 Masters of Arts in Art History, Adelaide University
1997-2000 Bachelor of Visual Arts (First Class Honours), SASA, University of South Australia
   
SELECTED EXHIBITIONS
2011 Flocked, Inside SAM’s Place residency, SA Museum (with Craftsouth), Adelaide SA
  Home Stories, Adelaide Central Gallery, curated by Vivonne Thwaites, Adelaide SA artroom5, Adelaide SA
  Tamworth Textile Triennial, curated by Patrick Snelling, Tamworth, NSW (+ touring)
2010 Flyblown, FELTspace, Adelaide SA
  Moving Wounded (ongoing participatory project): http://littleweeds.conservatory.org.au/theMovingWounded.html
  Consumed, Adelaide Central Gallery, Adelaide SA
  Little Weeds, online (littleweeds.conservatory.org.au) + Peel Street exhibition space (with Format Festival) + Seedling Art Space, curated by Lisa Harms, Adelaide SA
2009 Nell Pearson, Sera Waters, Claude Jones & Beci Orpin, Edwina Corlette Gallery, Brisbane Qld
  Just Is, Max Dawn Gallery, curated by Bev Southcott, Adelaide SA
  Craft’n Disaster, The Project Space, Contemporary Art Centre of South Australia, Adelaide SA
  Wangaratta Contemporary Textile Award, Wangaratta Vic
  artroom5, Adelaide SA
  Talente 2009, International Trade Fair, Munich, Germany
2008 artroom5, Adelaide SA
2007 Spirited Away, Adelaide Central Gallery, Adelaide, SA
  Quiet Hands, Gaff Gallery, curated by Rayleen Forrester, Port Adelaide SA
  Hedgemaze, Light Square Gallery, Adelaide SA
2006 Crooks & Nannies, downtown art space, Adelaide SA
2001 Hatched, National Graduate Show, Perth Institute of Contemporary Art, Perth WA
   
SELECTED GRANTS & AWARDS
2010 Project & Development Grant, Arts SA
2005 AJA Roy Terrill Prize, Japanese Art History Essay Prize, Adelaide University
2005 Ruth Tuck Scholarship, South Australian Youth Arts Board
2002 Artists-in-studios, South Australian Youth Arts Board
   
SELECTED BIBLIOGRAPHY
Adams, Jude, 'Three Artists- in the world: Anne Kay, Irmina Van Niele, Sera Waters', Artlink, vol 29, no 2, 2009
Dunt, Nerina, ‘Craft’n Disaster: Sera Waters’, Object, issue 59, October 2009, p. 58.
Hart, Jenny, ‘Sera Waters’, Embroidery as Art blog, Jan 12, 2010 (http://embroideryasart.blogspot.com/)
Hemmings, Dr Jessica, ‘The Dark Side’, embroidery (UK), vol. 60, Sept/Oct 2009, pp. 24-27.
Kemp, Jemima, ‘During the South Australian Living Artists Festival’, Point Blank, Point 3, 09/08.
Radok, Stephanie, ‘Filling an extraordinary space’, The Adelaide Review, no 253, Sept 28, 2004, pp 20-21
Zeplin, Dr Pamela, ‘Sera Waters: Crooks & Nannies’, Craft Culture online, Craft Victoria, 2007
   
PROFESSIONAL EXPERIENCE
2010-current Studio member of The Incinerator, Thebarton, SA
2005-current Committee Member on Adelaide Visual Arts Critic Circle, since Nov 2005.
2005-current Lecturing and tutoring in Art History at Adelaide University, Adelaide Central School of Art and South Australian School of Art (University of South Australia).
2004 – current Arts writer for various local and national publications and catalogues
2010 AAANZ conference, presenter in Relational Craft session + Chair, Post Graduate Symposium
2010 Artistspeak, University of South Australia
2007-2009 Peer Assessment Panel, Arts SA
2007 Key note speaker, SALA Festival, Art Gallery of South Australia
2005-2009 Studio member of Hedgemaze, Port Adelaide, SA
2005 Project Assistant, Tatsuo Miyajima residency, Contemporary Art Centre of South Australia
   
   
COLLECTIONS
The Cruthers Collection of Women’s Art, University of Western Australia
Private Collections, South Australia and New South Wales, Australia

 

 

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