Inclusive Excellence: Regional Series 4

The fourth in the Inclusive Excellence exhibition series featuring local artists affected by COVID, providing a brief snapshot of the region. The six local artists are Tracie Anderson, Chloe Abla, Barbara Weeks, Carmen McFaull, Karen Shilkin and Ian Mutch.

ArtGeo Gallery

Saturday 17 October 2020 10:00AM -
Saturday 17 October 2020 4:00PM

Chloe Abla Studio 9ED90EB8 02CA 41F7 91F0 BF4D0FADBEA6

The symmetrical pieces in this collection have been slab-built, I start the process by visualising the end shape and then create a set of templates, I then trace the templates onto the slabs allowing them to stiffen enough to join together to make a vessel. I intend for these pieces to be the statement sculpture in the room, the opening to these vessels have been designed so that the piece can be accentuated on special occasions with flowers of foliage displayed in a fan like arrangement.

The remaining collection is built using coiling and pinch methods. I start this process very spontaneously. What I see in the first few minutes of manipulating the clay determines what I want to create.  Once I have a vision of the object I work it further and let the clay guide me toward an end piece. The colourful glaze on these forms is inspired by the beautiful lagoon like bays and fertile reserves that fill the southwest and great southern region.

This latest collection of my works has all been created post Covid. My collection is inspired by the sea because it was one of the things I was most grateful to have access to during the Covid crisis. The final part of the process when making this collection was the hand drawing onto bisque-ware usingwax before dipping in glaze to reveal the pictures, I chose to incorporate Whales and Manta rays on these works because their beautiful slow and calm pace in nature, something 2020 has definitely highlighted a need for.


Red Sprigs

Karen Shilkin  

I am excited  to participate in this group exhibition as the theme is one that I have been exploring for a long time. Several years ago I visited the Observatory at the end of the Busselton Jetty and was so captivated by what I saw below the surface that I have used the photos I took there many times as inspiration for the paintings in my ‘Busselton Jetty’ series. In trying to convey the richness of the corals, sponges, fish and other sea life I observed there I have experimented with textured and sand grounds, and have been particularly taken with the waving white fronds of Telesto soft coral. Also the starfish I was lucky enough to see on the glass on my first visit is often featured in the paintings. 

In between these paintings I have created the ‘Coast’ and ‘Pink Lake’* series which explore what the ocean and other bodies of water might look like from above and how the surface of the water might show or obscure what is below. As I continued to paint I realised that I was using one particular tube in each of these paintings, and that colour is called ‘Aqua Green Light’.  I love the name of this colour because it is so evocative of the world of water.

*Many thanks to for permission to use their beautiful photo of Lake Hillier near Esperance as a source for these paintings.

Barbara Weeks 

I am in my studio, compelled to make. So many choices, surrounded by wools, silks and other fabrics. So seductive! Many sketchbooks suggest further attention, a closer look.I have recently settled in Geographe bay, Busselton after 15 years of visiting first Controlled Burning lrexploring North Queensland and more recently the Cape to Cape Coast of South West WA. The dramatic coastlines, deserted beaches, stunning rock formations, the joyful birdsong and the lush beauty underfoot and in the forests are a balm to my creative soul; investigating, researching, experimenting.

Recent work is often about creating surface design through wool lamination, a wet felting process which manipulates fine silks. This demands that I engage intimately with the qualities in these natural fibres. Working directly with my hands is liberating, exciting, risky and yet calming, serendipitous. This created cloth gives a textural contrast used with a variety of silk and linen fabrics offering further interest as the work evolves with stitch.

I have been working with textiles over five decades in the UK, teaching City and Guilds Design and Craft courses in Stitched Textiles in the UK and internationally in Europe, the middle East and at the 2011 Quilt Symposium in Queenstown, NZ. Contemporary Quilt making has been a major focus, and more recently, the exploration of felt making in both 2D and 3D forms.I am a member of the renown Bunbury Felting Group, the OZQuilt Network, the IFA  (International Feltmakers Association) and an Honorary Life member of the Quilters Guild of the British Isles.


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Carmen McFaull

Good Vibrations - the specific aim of this body of work is to investigate how painting the concept of vibration operates in representation. The exhibition showcases the works of local landmarks and my interpretation of them. The beauty of this region can be  understood and appreciated on different levels - what we see and recognize instantly and then what is less obvious or more interpretive. Energetic brushstrokes and bold colours are built over multiple layers, resulting in a visual feast with rich, organic patterns and shapes dancing and interacting together. Simplified reality into minimal shapes and tonal changes, colour combinations - create a vibratory pulse within each artwork. Each artwork has its own identity but is also part of a linked collection. 

Through my work I portray representation as an experience, and define what that means through each work of art. Sensory memories from places explored are layered into each artwork evoking moods, and emotions that are attached to each location, also highlighting the smaller aspects textures, layers, surfaces, space, light, movement and depth that is so often overlooked, misused or forgotten. With this vibration, cloudscape combinations, water reflections, textural variations, refracted light and colour movement through difference create an impression, make an impact, and evoke the feeling of being present within the artwork.

Water is clearly a large influence on my work, given my coastal surrounds and annual trips to Rottnest. I spend long enough watching the ocean, and see countless interactions of the elements all around me. Wind shapes that drive the waves, which in turn shape the rocks and the beaches. The bush and local scrub also offer contrast and more colour and textural opportunities to explore. The various walking tracks from the Cape To Cape system are a highlight for visitors to the region and are some of the suggested aspects of the body of work on display.

The exhibition will consist of works on canvas – in acrylic and oil medium, mixed media; framed pastel work - from realistic to abstract. Experimentation, medium reactions (bitumen and acrylic) and manipulated chance techniques are used to build the artworks which mimic the creation of the environment.


Tracie Anderson 47DA2DB0 79F8 4FC1 9703 AB541E869EAD

Tracie is a recognised Western Australian Ceramic and Mixed Media artist. Her art is collected in Australia and overseas as it portrays the beauty and the natural coastline of the South-West of Western Australia. She is renowned for upcycling found objects into her ceramic art forms that create unique sculptural and functional art. She holds a Diploma in Visual Arts concentrating on Ceramics. Over a number of years her art has evolved to incorporate found objects, be it metal, shell, driftwood or bone.  These are built up with her ceramic pieces to form an art piece that reflects the ocean and the beaches of WA. Tracie is influenced by the coast and what she finds there, upcycling is dominant in all her pieces and she is also influenced by textural pattern in all forms. Tracie has built a small business using these combinations and now uses her own patterns for textiles, home décor and stationary.

This exhibition has been an exploration of glazes and forms. The body of the work has a connection with the fluid form of the ocean, above and below. The surface with the movement in hills and troughs and below with the ebb and sway. Each piece interacts with the other but can easily stand alone. Once again I wanted to make the pieces to all have a coastal theme and to upcycle found objects which is integral to my art practise. I like the assemblage process and can work on this part of my art for many days to finally have the finished form. The hand-building process can be very fulfilling but of course has the vagaries of kiln firing and glazing to contend with and with each opening of the kiln can be great happiness or desperate disappointment! I’ve tried to marry each piece with above and below and hope that the distinction is seen and reflects my love for the Western Australian coastline.

Ian Mutch

Ian Mutch is an artist and storyteller from the South-West, exploring beauty through nature, characters and details. Applying a variety of techniques and mediums, Ian creates a whimsical world through paintings, illustrations and installations. His work has won awards, given life to public spaces and featured for well-known brands and publications. The latest body of work has been created in response to 2020, a very interesting year for the world. The artist has had more time to experiment; painting land murals, drawing themes around the notion of “home”, and creating a range of artworks, all the while staying positive through creativity.

Ian Mutch


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