The Centre for Creative Health is excited to be participating in the 2019 Adelaide Fringe Festival with the following exhibitions on display in the RAH’s Commercial Galleries throughout February and March. To reflect the inclusivity and diversity that embodies the Fringe Festival, all three exhibitions integrate and explore the intersection of multiple concepts, genres and inspiration – whether it is the connection between art and wellbeing, mathematics, music or the natural world.
Fiona Borthwick, Senior Curator, Centre for Creative Health
“The Journey Within” is a collection of artworks which depict a unique story of inner growth, learning and self-expression. They have been created intuitively utilising colour, form and layers of texture and detail, which are representative of the complexities and challenges to overcome through the process of self-growth and healing through inward reflection. The colours represented within each piece have been intentionally selected to help create balance and positive energy, complementary to the story and emotion of the artwork. The works are visually interesting and aim to bring joy and positivity to the viewer. Each artwork within the collection tells an individual and unique story and plays an intricate role in the emotional and visual display of the exhibition as a whole. The artworks have been created with positive intentions and joy. It is my wish for this exhibition, that it inspires hope, happiness and interest within the viewer.
I am a true believer in the healing properties of art. My greatest wish for this exhibition is that my artwork can offer a moment of brightness, thoughtful escape and happiness. I aim to instil positivity through colour and energy into each of my works for others to enjoy.
My art practice is situated within the field of contemporary painting. It combines techniques from mathematics, textiles, art and music to explore the nature of divisions between them. Using textile techniques (pleating, punching and stitching) I create a controlled system that becomes a platform for exploring chance occurrences caused by the properties of materials. My work observes the relationship between data, process and material. The grid as a framework facilitates transfer of information and process. The relationship between digital and analogue is explored using punched, gridded paper, evocative of the Jacquard weaving loom, pianola music rolls and early punch card computers. Data sourced from the prediction of chance operations is plotted and manipulated, using symmetry and repetition processes common to music composition and the repeat pattern of textiles. The site becomes a surface to observe the interplay of materials, spatiality, and the tension between order and chaos.
Art is important in hospitals.
As a young intern, I rarely left the hospital environment. My life outside the hospital was unavoidably limited during that time.
For patients staying in the hospital, experiences are similarly limited to the hospital. Visiting hospital can be frightening, uncomfortable or dull.
Artwork that is soothing, reflective and interesting is necessary in hospitals.
I am driven by causality.
Inspired by patterns and nature.
Constrained by order.
As an artist, I try to contrast the natural with the ‘unnatural;’ reinterpreting how our world is perceived. I generally contrast the fluidity of nature against the rigidity of straight, hard shapes.
Flowing through the veins of our natural universe exist optimal patterns of growth and expansion. One such pattern is known as the Golden Ratio. This pattern can be seen throughout nature from the formation and rotation of petals on a flower, to the curvature of a shell, through to the spiral nature of some galaxies within this universe.
When expressed as a quadratic formula, the Golden Ratio, also known as phi ( can be written as …
I take this irrational number and expressed it visually; always geometrically.
The Royal Adelaide Hospital is making ground breaking achievements through their research, progressing scientific achievement; it is a world of discovery and learning. It is an inspiration. I am honoured to exhibit here.
Eye of the Beholder is an exhibition of photographs illustrating South Australia’s many wonders and delights, sights and locations both well-known and those that have been forgotten – lost to the memory of history.
There is beauty in everything, no matter how old dilapidated, forgotten or abandoned. In today’s fast paced, social media fuelled world, taking a moment to stop and appreciate all the beauty that surrounds us, even when found in some of the most unexpected of places, is one of the best acts of self-care and wellness that a person can do.
The images in Eye of the Beholder were all taken in South Australia, from far away as the northern town of Windsor, to the empty expanses of Osborne, to suburban backyards, to the hills of north-north-eastern Adelaide. Between the abandoned and adored, there is much to enjoy and explore in our beautiful state.
As a regular outpatient and full-time carer, L. J. LaBarthe understands the importance of creating a space away from the sterile environment of the typical hospital setting. A space that provides visually interesting imagery that can be thought on and discussed, ultimately improving the hospital experience and well-being for patients, staff and visitors.
The Centre for Creative Health is delighted to present ‘The Art of Memory’ by our very own Diversional Artist, Brad Wilson.
This exhibition highlights Brad’s exceptional technical ability, creative skill and remarkable patience. Comprised of a series of intricate masterpieces this exhibition leaves the viewer in awe as images of everyday objects such as a clock, tractor or wagon come to life in engaging and enchanting ways.
The idea of memory, fragmented in nature, and the complexity of how we interpret experience and understand truth is present throughout the exhibition, bringing additional layers of understanding and enjoyment to the artwork.
What is memory? The oxford dictionary defines it as “the faculty by which the mind stores and remembers information.” To me however memory is a lot more complex than this definition implies. Although there is certain comfort in the thought memory is constant and retrievable, my latest series “the art of memory” questions this notion.
“Time and memory are true artists; they remould reality nearer to the heart’s desire” John Dewey
Fragmentation is used throughout my work and is reflective of the concept that memories are in essence only fragments of information for as Cesare Pavese said “we do not remember days, only moments”. It is my belief that memories are largely the product of our own perception and construction, which in turn challenges the notion of truth.
The idea of personal fabrication is equally as relevant in the perception of the artworks, for as memory is arguably the product of our own cognitive construction so it is true with the perception of art. I have an emphasis on the role of the viewer, which I believe to be equally as relevant as the conceptual intention of the artist.
“In a general sense, Brad’s studio practice could be encapsulated as one grounded in a deconstructive methodology complemented by creative layering and the blurring of the boundaries of illustration, traditional drawing and three dimensional visual art practice.”
– Greg Donovan. Former Program Director: Master of visual art and Design, UniSA City West.
Currently working as a diversional artist for the Centre for Creative Health I have been privileged to see firsthand the positive impact of the arts within the medical fraternity. I feel incredibly grateful for the experiences I have shared with my patients.
Please contact Fiona Borthwick for more information.
08 7074 1439 firstname.lastname@example.org