Australia council for the arts / career development grant for individuals / 04 June 2019
14 Wallaga Lake Road / Bermagui / NSW / 2546
Artistic Support Material
Selective Curriculum Vitae
Artistic Support material
Michelle / 2019
A portrait of Australian writer Michelle Law, from a live sitting in her Sydney apartment.
Abdul / 2017
A portrait of fellow artist Abdul Abdullah, from a live sitting in his Sydney studio.
Six / 2017
I make regular portrait studies of my son, now 8 years old.
Australian Birds / 2018
My first picture book was released in October 2018 through Melbourne-based publisher Little Hare Books. It has since been selected as a 2019 Children’s Book Council of Australia Notable Book, and is currently shortlisted for the CBCA Award for New Illustrator. This publication also earned me a place on the 2019 Sydney Writers Festival line-up, where I gave a public presentation on my work.
Australian Sea Life / 2019
My next picture book is complete, and will be released in October this year. It will be composed of 33 drawings of Australian sea life for young readers.
author, art-historian and former director of the National Portrait Gallery, the late Andrew Sayers, began while I was curating an exhibition of his own paintings. Andrew was an artistic and intellectual mentor and friend, and I was fortunate to personally launch Sayers' career as an artist, turning the curatorial spotlight back onto one of Australia's most respected curators. In this portrait, Sayers is physically reduced by the late stages of cancer, but remains incisive and engaged with the task of arranging his third exhibition, the last he would attend. I have levelled Sayers' gaze beyond the viewer, into the gallery space beyond.
Sketchbook Pages / 2018
As a regional Australian artist practicing from Bermagui, on the south coast of NSW, recording the landscape is a daily discipline. My concern here is the spacial expanses. In these sketchbook pages, I reference Asian perspective devices, particularly that of my Chinese heritage. Here, negative space dominates, and perspective tends towards the hierarchic, pulled vertical in deference to the flatness of the picture lane.
Exhibition Catalogue (excerpt): Guandu International Art Festival / Taipei
My feature page in the catalogue for the highly selective 2016 Guandu International Art Festival. This was a crucial introduction to Taipei’s contemporary art community. I received a rare invitation to undertake a second tenure at this residency in 2018, where I created a new body of experimental installation work. The 2018 catalogue will be released later this month.
Selected as the 2019 4A Centre for Contemporary Asian Art’s Emerging Writer
Selected as the 2019 - 20 Children’s Literature Fellow / State Library Victoria / Melbourne / Australia
26 July – 11 August 2019 / Group Exhibition / All You Can Eat / Brunswick Street Gallery / Melbourne / Australia
31 August - 15 September 2019 / Solo Exhibition / Pon Ding 朋丁 / Taipei / Taiwan
October 2019 / Book Release: Australian Sea Life / Little Hare Books
November 2019 / Guest Artist and Writer / Liminal Magazine
December 2019 / Guest Artist / Overland Literary Journal (Summer Edition)
February 2019 / Australian Birds selected as Children’s Book Council of Australia 2019 Notable Book / Long-listed for the Eve Pownall Award
January 2019 / Travelogue / working temporarily from Vancouver and Seoul.
October 2018 / Book Release: Australian Birds / Little Hare Books
10 September - 24 October 2018 / Artist-in-Residence and Group Exhibition / Guandu International Sculpture Festival 關渡國際自然藝術季 2018 / Taipei / Taiwan
6 - 23 June 2018 / Solo Exhibition / Still / May Space / Sydney / Australia
03 May 2018 / Writing / Notes on Anzac Day / Overland Literary Journal
10 December 2017 / Writing / A Short Despatch from the Garden of the Generalissimos / Runway Experimental Australian Art
07 - 25 November 2017 / Group Exhibition / Out of Line / May Space / Sydney / Australia
28 October 2017 / Solo Exhibition / Edges 邊界 / Bamboo Curtain Studio / Jiu-Jiu Lai-Zuo 九九來坐 / Taipei / Taiwan
21 October 2017 / Facilitator / Children's Drawing Workshop / SheZhi Island / Taipei / Taiwan
29 July - 15 October 2017 / Group Exhibition / Salon des Refuses / National Trust S H Ervin Gallery / Sydney / Australia
September 2017 / Writing / National Accounts Essay / Meanjin Quarterly / Spring 2017 Issue
01 June - 01 July 2017 / Solo Exhibition / An Episode / Tuggeranong Arts / Tuggeranong / Australia
June 20 - 22 / Birds / Public Art Commission for Narrandera Shire Council / Narrandera / Australia
28 March - 22 April 2017 / Group Exhibition / Introducing V / May Space / Sydney / Australia
17 June - 20 August 2016 / Finalist, Highly Commended / Shirley Hannan National Portrait Prize / Bega Valley Regional Gallery / Bega / Australia
2016 / 2 months as Artist-in-Residence / Group Exhibition / Guandu International Sculpture Festival 關渡國際自然藝術季 2017 / Taipei / Taiwan
2016 / Solo Exhibition / 4 weeks as Artist-in-Residence / Far South / Nishi Gallery / New Acton / Australia
2016 / 8 weeks as Artist-in-Residence / Studio Switch / Casula Powerhouse / Western Sydney / Australia
The following letters are from three organisations in Taipei. The first is from Pon Ding gallery, a letter of invitation to exhibit in 2019. The second is from Guandu Nature Park, the host of my 2016 and 2018 residencies in Taipei. The third is a letter of invitation, detailing my second residency at Bamboo Curtain Studio in 2017. Please note that the authors are writing in their second language:
Letter of Invitation to exhibit / Pon Ding gallery / Taipei City
Letter of reference / Ellen Jan / curator: Guandu international art festival
NOTES ON ANZAC DAY / OVERLAND LITERARY JOURNAL / MAY 2018
From the first spear thrown at James Cook’s arrival, Aboriginal nations fought this onslaught. In the defence of their country, the fact of Aboriginal resistance exponentially eclipses the Anzacs’ European campaigns on terms of both virtue and national relevance.
A SHORT DESPATCH FROM THE GARDEN OF THE GENERALISSIMOS / RUNWAY / ISSUE 35 / DECEMBER 2017
It would be difficult to contrive a more perfect parody of the autocrat, or expose more persuasively the relationship between power and place. Although Cihu Memorial Sculpture Park is promoted as a respectful homage it is, quietly, a dissident masterpiece of consummate irony.
IN DEFENCE OF A DESECRATION / MEANJIN QUARTERLY, NATIONAL ACCOUNTS ESSAY / SPRING 2017
In the ‘defaced’ statue we are presented with a perfect cultural intersection: two forms of public art, diametric in their opposition, competing for civic space and over the historical record.