The artists have lived and worked intermittently in the Mallee region for several years, where Jennifer has worked in environmental management. Jennifer’s environmental work standardly uses aerial photography and geographic information system mapping. In 2014, both artists participated in weaving workshops led by master weaver, Clair Bates, from the Murray Darling Dreamtime Weavers. If GIS is the fastest way to render a map/landscape (for any given strategic end), weaving would be the slowest.
The sea has flooded into the Murray Basin on at least three occasions, giving the Mallee its strangely beach-like feel and distinctive landforms. For the Lakes Project the artists travelled to selected lakes in the Coorong, the South Australian and Victorian Mallee region and the adjoining Riverina region. Some of these lakes overlay much older lakes, some of them are ephemeral lakes, some of them are now permanently flooded/ drowned where once they would have been dry for long periods, some of them are now too dry. This part of the Lakes Project involves a perverse type of endurance weaving, using the coil technique introduced to the artists by Clair Bates for, what they consider, painterly ends. The artists attempt to ‘render’ these lacustrine landscapes and their responses to them, crossing the languages of early modernist abstraction in painting with the diagrammatic visuality of a geographic systems mapping image.
Janet Burchill and Jennifer McCamley have been working as artists both collaboratively and individually since the mid-1980s. Their work employs a diverse array of media including painting, neon, sculpture, photography and video. It engages conceptually with feminist, modernist, design and spatial concerns. Collaboration has been an important aspect of their practice.
Currently resident in Melbourne, both artists have lived and worked intermittently in the Mallee region over the last few years. In 2014, they participated in weaving workshops led by master weaver, Clair Bates from the Murray Darling Dreamtime Weavers. Their project for Mildura Palimpsest Biennale involves, in part, a perverse type of endurance weaving and mapping where they travel to selected lakes in the Mallee region and ‘render’ these lacustrine landscapes. The final rendition crosses a type of modernist abstraction with the schematic visuality of geographic information systems mapping.
Recent exhibitions include Imaginary Accord, Institute of Modern Art, Brisbane (2015) Habitat, Minerva, Sydney (2014) Burchill/McCamley, David Pestorius Projects, Brisbane (2014) Shields, Neon Parc, Melbourne (2013) Melbourne Now, National Gallery of Victoria (2013) Aesthetic Suicide, World Food Books, Melbourne (2013) Scum Tapes, Rodeo Gallery, Istanbul (2013) The Cat Show, White Columns, New York (2013) Louise Bourgeois & Australian Artists, Heide Museum, Melbourne (2013),Colombo Art Biennale, Sri Lanka (2012) Burchill/McCamley, David Pestorius Projects, Brisbane (2012) Less is More, Minimal-Post Minimal, Heide Museum, Melbourne (2012) In abstraction, the body, Anna Schwartz Gallery, Sydney (2012) A Different Temporality: Aspects of Australian Feminist Art Practice 1975-1985, Monash University Museum of Art, Melbourne (2011), The Phantasm, Foxy Production, New York (2011), The Emily Dickinson Project, Shanthi Road Gallery, Bangalore (2011) Light From Light, MAAP, Brisbane and Shanghai Library, China (2010) equivalence, Anna Schwartz Gallery, Melbourne (2009) Imitation of Life, Shanthi Road, Gallery, Bangalore (2009) Combine, Heide Museum of Modern Art, Melbourne (2008) Inland Empire-Solar Neon, IASKA, Kellerberrin, W.A. (2008)
Represented by: Neon Parc