22nd September – 2 October 2016    Residency event: Saturday 1st October

In the third of our 2016/17 Eternal Place-Creative Space residencies we welcome three artists on a ten-day exploration of The Rodd and Sidney Nolan’s legacy. Each has their own areas of interest and links to the site – with the residency allowing each of them to see their practice through different lenses. 

Follow their progress via The Green Room; meet the artists at our Residency events on Saturday 1st October - details to follow.   

Anne Bean

Anne Bean has worked in installation/performance for 45 years.  

In 2009, she received a British Council Creative Collaborations award for ongoing worldwide work, still continuing, with women from countries of conflict. In 2010, Tate Gallery Research and LADA granted her Legacy: Thinker in Residence Award, resulting in a major work, TAPS, including over 80 artists, engaged in improvisatory experimental practice. This award inspired further works; A Transpective, shown in Venice 2013 and The ABCD ness of it all, an Acme Artists Now commission, 2014.    

During 2015 she was Artist in Residence at Whitechapel Gallery, London, exhibiting Holding infinity in the Palm of my Hand in the Foyle Reading Room, and presenting work and a film Night Chant as part of Performance and Politics in 1970’s symposium in the Zikha Auditorium. During 2015 she also presented work at Chandigarh Lalit Kala Akademi, India, at Dzialdov Gallery Berlin, at Latitude Festival as well as a commission for three installations: Retracing & Redress at Dilston Grove, London, a launch performance for The Art of Living at Kings Chapel, London and a commission for a major new work at London Contemporary Music Festival with Richard Wilson.  

Currently, she is involved with Tempting Failure Festival and, in association with Matts Gallery, London she is working on an ongoing installation Moments of Consciousness and……. 

“Reading Anne Bean’s CV is like following a continuous performance, a continuous response to the world… a ‘magicification’ of the world. The panoply of places she has worked, times of the day or night, interiors, exteriors, seasons, publics, materials, concepts, tools, is astonishing: all shifting but all attuned to unique situations.” 

Guy Brett: Shadow Deeds (2006) 


Abigail Conway 

Abigail Conway is a creator of live art performance.  Abigail creates participatory installations and live performances that are open, interactive environments created with the audience at the heart.  Abigail aims to draw people in with the offer of a unique experience, which creates a space for people to consider big ideas from a different perspective.  

Her work is interdisciplinary and although her background is in live art, her work has been programmed and presented in a range of contexts - theatres, bars, community celebrations, architecture festivals and schools.  This enables the work to engage with diverse audiences.

Abigail creates beautiful, tactile, sensory projects, which immerse audiences in a world that is transformative and celebrates the temporary community that evolves within it.  She makes work that cultivates surprise and wonder and challenges people to think. In our high-speed 21st century world, she creates space for reflection, thought and adventures.

Abigail is founder, and artistic director, of Subject to_ change, a live Art Company, to which their show home sweet home has toured to national and international acclaim. The Company is committed to challenging the boundaries of artistic performance. The works of Subject to _change give priority to spectator perception and engagement.

Individual performance pieces devised, produced and directed by Abigail include; on the tip of your tongue*, Timelab, on dancefloors and every minute, always with Melanie Wilson. Abigail’s work has been selected and showcased by the British Council and presented at the following venues: MAC, The Wellcome Collection, The National, The Barbican, Battersea Arts Centre, Latitude, Shunt Vault's, The ICA, The Basement, Bristol Old Vic, Warwick Arts Centre, Vooruit kunstencentrum, The Arches, Summerhall and Forest Fringe. 


Elpida Hadzi-Vasileva 

Photo credit - Bernard G Mills

A graduate of the Glasgow School of Art and the Royal College of Art, Elpida works site-specifically across sculpture, installation, video and sound, photography and architectural intervention.  

Central to her practice is a response to the particularities of place: its history, locale, environment and communities. The materials she chooses to work with are determined by the particularities of the commission she is undertaking. Frequently using perishable materials, Elpida transforms seemingly unpromising materials into beautiful objects and ambitious environments that consider the historic, geographic and cultural contexts for which they are commissioned and/or placed.   

Current and recent exhibitions and projects include: Making Beauty (Djanogly Gallery, Nottingham Lakeside Arts, 2016); Haruspex (Pavilion of the Holy See, Venice Bienniale 2015);  Fragility (Fabrica, Brighton, 2015); Silentio Pathologia (Pavilion of Macedonia, Venice Biennale, 2013); Resuscitare, National Trust, Mottisfont, Abbey (2013); Witness of Virility (Pied á Terre, London, 2011); Reoccurring Undulation (Towner, Eastbourne, 2011); Inherent Beauty (Public Room, Skopje, Macedonia, 2010); Bad Hair Day (Discovery Centre, Winchester, 2010); Motectum (Gloucester Cathedral, 2009); Butterflies in the Stomach (L’H du Siege, France, 2008) and Epidermis (Berwick Gymnasium, 2002).



Supported By

Arts Council England