Fayen Ben_Floorplan
  1. Carmen Papalia, Open Access: Accessibility As Temporary, Collectively-Held Space, 2020, with Fayen d’Evie, Amelia Wallin, Tamsen Hopkinson, Bryan Phillips, HollyCraig, Katie West, Thea Jones, Georgia Hutchison, Pip Wallis, Benjamin Hancock, Lizzie Boon, James Nguyen, Andy Butler. Audio visual projection. 1 hour and 19 minutes.
  2. Fayen d’Evie, Anna Seymour, Vincent Chan and Trent Walter, Essays in gestural poetics {;;} “Endnote: The ethical handling of empty space”, 2021. Screen print. 43 x 60cm.
  3. Lizzie Boon, vitrine, 2021, wood, perspex, draft publication layout: Sofia Lo Bianco and Fayen d’Evie, Care is a Cognate to Grief, 2020/2, published by 3-ply. Printed with Trent Walter. Dimensions variable. Read the score that accompanies this work on West Space Offsite.
  4. Adam Leslie, As Above: Pleiadesas a Platform, 2019-21, Victorian Ash hardwood, steel springs, perspex. Dimensions variable.
  5. Fayen d’Evie, Anna Seymour, Vincent Chan and Trent Walter, Essays in gestural poetics {;;}, “Care is a cognate to grief”, 2021. Screen print. 43 x 60cm.
  6. Fayen d’Evie, Anna Seymour, Vincent Chan and Trent Walter, Essays in gestural poetics {;;} “We get in touch with things at the point they break down”, 2021. Screen print. 43 x 60cm.
  7. Irina Povolotskaya and Fayen d’Evie, Shared Action, 2021. Video with audio. 15 seconds.
  8. Hillary Goidell, To Catch a Thing in Flight, 2020. Audio description of the film Shape of an Echo, 2019, by Anna Seymour, Fayen d’Evie and Pippa Samaya (a gestural description of the soundwork Hauntings H M Castlemaine 2019 by Andrew Slater (a description of the Old CastlemaineGaol composed from field recordings)). Video with audio. 13.02 minutes. Watch this video on West Space Offsite.
  9. Fayen d’Evie, Anna Seymour, Vincent Chan and Trent Walter, Essays in gestural poetics {;;},  A4 tactile prints, Victorian Ash hardwood, dimensions variable.
  10. Museum Incognita, Bundles, 2021.  Embroidered fabric steeped in Jaara country, dyed with mud, leaves, flowers, bark. Handmade dovetailed drawer, cedar and birch. Read the score that accompanies this work on West Space Offsite.
    1. Sophie Takách, handling (encounter between Fayen d’Evie and Georgina Kleege, July 2016), 2016-2021. Bronze. 90 x 70 x 45mm. Courtesy the artist. Read the score that accompanies this work on West Space Offsite.
    2. Fayen d’Evie, …on and on and on… (tactile poetics fragment), 2019. Braille poetry, bronze. 14cm x 1cm.
    3. —- and Fayen d’Evie, Spine (—-), Sanded oblong of Jurassic marble. 12cm x 3cm.
  11. Fayen d’Evie with Tommy Carroll, Holly Craig and Riana Head Toussaint, With cane in hand… (1:10 scale excerpt #5), 2021, polymer, acrylic paint, dimensions variable.
  12. Fayen d’Evie and Trent Walter, Ascending/Descending Sonic Shadows, 2019. Photopolymer relief and embossing with Braille and laser-cut soft cover on BFK Rives 250 gsm (relief and embossing), Ball & Doggett Colourplan 270 gsm (Braille) and Arches HP 300 gsm (soft cover). 29.5 x 23 cm. 48 pages. Edition of 30.
  13. Aaron McPeake, Resonant Cuts (fragment), (2018-19), bell bronze, dimensions variable.
  14. Carmen Papalia, Fayen d’Evie and Luke King, Interdependence is Central to the Radical Restructuring of Power, (2021), Spoken and signed text, collaborative performance by  West Space staff and Disorganising collaborators.
  15. Fayen d’Evie and Luke King, “Shared action over objects may be the tiny cell from which sprouts the whole of humanity” (2021), Spoken and signed text, collaborative performance by West Space staff and Disorganising collaborators.

WEST SPACE WINDOW:
Benjamin Bannan, Untitled (Saint Francis Receiving the Stigmata), 2021. 4k video with sound, 10:58mins. Visual Effects: Jack Caddy and Pablo Tochez Anderson. Soundtrack: Rachel Salmon-Lomas and Lia Tsesmelis.

"We get in touch with things at the point they break down // Even in the absence of spectators and audiences, dust circulates..."

Collaborators, contributors, and West Space community includes: Carmen Papalia, Andy Slater, Anna Seymour, Vincent Chan, Trent Walter, Aaron McPeake, Sofia Lo Bianco, Lizzie Boon, Georgina Kleege, Holly Craig, Katie West, Zeno d’Evie, Hazel Pebbles Zagala, Sophie Takách, Bryan Phillips, Jill Sterrett, Luke King, Tommy Carroll, Benjamin Hancock, Adam Leslie, Irina Povolotskaya, Amelia Wallin, Tamsen Hopkinson, Jennifer Justice, Janaleen Wolfe, Warren Taylor, Pippa Samaya, Hillary Goidell, Kate Disher-Quill, Riana Head-Toussaint, Biljana Ciric, Georgia Hutchinson, Khang Chiem, Thea Jones, Andy Butler, Channon Goodwin, Pip Wallis, and more to be invited before and during and afterwards.

Working as both artist and curator, d’Evie advocates for radical accessibility within the exhibition format. The exhibition brings together a sweeping cast of collaborators, including artists, theorists, dancers, conservators, academics and activists.

Through multiple collaborations and across multiple mediums, including sculpture, performance, tactile prints, publishing, and video, We Get in Touch… centers language and translation. Language is understood as gestural and spatial, encompassing dance, signing, touch and vibration.

Videos and more artworks in this exhibition are available to view on West Space Offsite

WEST SPACE WINDOW: "Untitled (Saint Francis of Assisi Receiving the Stigmata)"

Untitled (Saint Francis of Assisi Receiving the Stigmata) is a single-channel video work that disassembles Giotto Di Bondone’s painting of the same name (1295-1300), and restages the composition into a fiction. The figures of Christ and Saint Francis have been removed from the landscape, negotiating a separation between figure and ground. The perspective circles the projection of stigmata, articulated as abstracted lines of transference, demarcating the tension between two absent bodies.

Fayen d’Evie is an artist and writer, born in Malaysia, raised in Aotearoa/New Zealand, and now living in the bushlands of unceded Dja Dja Wurrung country, Australia. Her projects are often collaborative, and resist spectatorship by inviting audiences into sensorial readings of artworks. Fayen advocates blindness as a critical position that radically agitates ocularnormative biases, offering methods for navigating intersensory conversations, the tangible and intangible, hallucination, uncertainty, the precarious, the invisible, and the concealed. With artist Katie West, Fayen co-founded the Museum Incognita, which activates collective readings of neglected and obscured histories. Fayen is also the founder of 3-ply, which approaches artist-led publishing as an experimental, critical, and poetic site for the creation, mutation, dispersal, and archiving of texts.

 

Benjamin Bannan holds a BFA from Curtin University and a BFA (Hons) from Monash University, where he is currently a MFA candidate. His research-lead practice spans video, installation, sculpture, and drawing, and interrogates metrics of modernity through social, cultural and aesthetic lenses. Benjamin participated in the 2019 Festival Lab facilitated by Perth Festival, and was a recipient of the Lowensteins Arts Management Award in 2020. Recent exhibitions include Bunbury Biennale, Bunbury Regional Art Gallery (2021), Here&Now20: Perfectly Queer at Lawrence Wilson Art Gallery (2020), and Hatched: National Graduate Exhibition at Perth Institute of Contemporary Arts (2018).