vivonne thwaites



2020 Exhibition

2020 - Artists works are generally on exhibition by: Sera Waters, Troy Baylis, Noel McKenna, Godfrey Miller, Therese Ritchie, Pam Harris, Helen Fuller, Laura Wills, Gilbert Roe, Matthew Griffin, George Baldessin, Chris de Rosa, Gerry Wedd, Julie Dowling, Alan Tucker, Andrew Petrusevics, James Cochran, Ruth Tuck, Stephanie Radok, Julie Dowling, Kent Morris, Lee Salomone, James Lynch, Katjarra Butler, Greg Daly, Sarah Crowest, Arlene Textaqueen, Alison Alder, Ian Abdulla, Merryn Bowden, Katharina Flink (1798), Patsy Hely, Toby Richardson, Jonika Sullivan, Irmina van Niele, Kylie Waters, Savandhary Vongpoothorn, Jill Yates.

These works and many others are permanently on display at artroom5.

Please e mail or call for an appointment to view.


Exhibition: November 2018


Jude Adams

Narratives from the Family Album
November 3 to 25, 2018
Open Thursday to Sunday, 11am to 6pm


November at Artroom5

Jude Adams has a decades-spanning career in the visual arts covering a range of practices and disciplines. The thread linking her work, whether visual, text-based or performative, is a commitment to feminism and the significance of women's material practice. In the 1970s, Adams became an active member of the Women's Art Movement (Sydney 1974-76) (Adelaide 1978-85) and coordinated the Lovely Motherhood Show (1981), a collective-based exhibition that, like other 'memory cycle' projects, sought to 'turn down the racket of patriarchy'. More recently, Adams has participated in the resurgence of women-only collectives, such as Feminist Renewal Art Network (FRAN) and FRANFEST (2017). For most of her career, Adams has been involved in art education, teaching one of the first 'women and art' courses (1976) and subsequently, as a lecturer in art history and theory (UniSA). On retiring from academia, she has re-engaged with an art practice that is focused on recovery and reinterpretation.

Narratives from the Family Album
Exhibition Description:
In the current spirit of archival-retrieval, the exhibition, Narratives from the Family Album re-visits the period of second-wave feminist art. The aim, however, was not to reference or reenact works but rather to recover my own 'lost', forgotten or incomplete works. This process of return loosens the concept of linear time, thereby opening a space for the work of recovery, reappraisal, reformulation and repair. Framed by the idea of temporal fluidity Narratives from the Family Album includes works from the period of 1970s feminism, works that have undergone a makeover and works that were made across time. The exhibition draws on outmoded objects and technologies of representation such as the snapshot, the Polaroid and the photocopy in addressing gender, narrativity and identity.

Review in Artlink, Nov 2018


Jude Adams
Self-image (Pose), 1976
photocopies, pastel, coloured pencil, felt tip pen 
101 x 75 cm


Exhibition: December 2018


Gus Clutterbuck
Irmina van Niele
Gilbert Roe


November at Artroom5

Gus Clutterbuckworks in Jingdezhen, China, on an annual basis, and is also based at the JamFactory in Adelaide. Clutterbuck exhibits both nationally and internationally, most recently presenting work in the solo exhibition Shards, 2015 and FALLING – Gus Clutterbuck Ceramic Art Collection in 2018 at MEOU Museum, Shanghai, China. His work is held in the collection of the Art Gallery of South Australia, and in 2011 he was awarded a Special Prize for his 2011 work Plastic Geology in the Gyeonggi International Ceramix Biennale, Icheon, South Korea (2011). In 2014, he was the recipient of an Aisalink Residency, undertaking a self-initiated residency at the Pottery Workshop in Jingdezhen, China. He also has experience working in community arts and education, including with remote aboriginal communities in South Australia's APY lands and the East Kimberley region in WA.

"In my recent work in Jingdezhen, China, I have aimed to develop my own visual language which combines the traditional qīng-huā painting technique and references to Chinese symbolism, with my own and my family’s personal experience of life, and the Australian landscape. Working from photographic images and personal mementos I have investigated many ways in which I can explore very Australian themes in a style drawn from Chinese tradition. Clouds, trees and mountains all have a place in the work amongst the red Australian earth.

I was privileged to be mentored by Mr. Haung Fei, a highly skilled painter from Jingdezhen, in learning traditional qīng-huā techniques of porcelain painting. He was very interested in my depictions of desert landscapes and my sculptural techniques, and I in his knowledge of the symbolism and stories to be discovered through Chinese ink paintings and porcelain shards." 

Dr Irmina van Niele was born and grew up in Amsterdam. She spent her adolescence in Paris and London and in 1973 came to Australia. In 2006 she completed her Doctoral Thesis Ambivalent Belonging
My art practice includes gallery and public work in sculpture, installation and textiles. The broad focus of my research is on the human experience of belonging. Strongly influenced by personal experience, my workaddresses the meanings attached to memories of the past, re-imagined in the present. Using everyday found materials, I reflect on the complexity of human relationships and particularly the relationship between mother and self. Distance versus attachment and loss as presence are questions that occupy my thoughts and inform my current practice.’ 

Gilbert Roe, B A Communication Studies, Uni SA, 1992. Associate Diploma in Photography, SACAE, 1984. Of his series Mallee Routes Gilbert states: Travelling along the Mallee Routes I see ‘The Mallee’ as it is now, and the traces of the way it was. The past is entwined with the present. Different cultures leave behind different traces. Modern human endeavour has a dramatic effect on the environment leaving behind altered landscapes criss-crossed with new and old structures. And there is destruction and the detritus of neglect. No areas within the Mallee have not been untouched; it is no longer pristine.

Gilbert’s recent exhibitions have been: Mallee Routes, Swan Hill Regional Gallery, 2018; Weltraum, Magpie Springs, Shimmer Photographic Biennale, 2016; untitled Juxtapose Studio and River and Coast: Red Gum and Rock: South Australian Landscapes. The Light Gallery, Adelaide, 2015.

Review in The Adelaide Review Dec 2018