Love Summer

Our now! A recent collage commission for The Big Issue, 'Love Summer' edition No 552, Tuesday 26th December, 2017 – Thursday 11th January, 2018, to illustrate Chris Kennett’s look at 2017, ‘The Good, the Bad and the Donald’.

Please purchase a copy of The Big Issue today, from your favourite vendor to read the article.

Gracia Haby and Louise Jennison, The year that was, digital collage commission for and published in edition #552 of The Big Issue, 2017–18, pp. 14 – 15

Gracia Haby and Louise Jennison, The year that was, digital collage commission for and published in edition #552 of The Big Issue, 2017–18, pp. 14 – 15

World of the book

Happy to chance across three of our zines from 2010, A folded drawing of a Sulphur-crested cockatoo, Views in my pocket, and We are dreaming of the sea, on display at State Library Victoria as part of their permanent exhibition, World of the book.

To define a zine is to delve into the do-it-yourself culture of self-publishing and self-expression. The term ‘zine’ originated in the science-fiction ‘fanzines’ of the 1930s, and now encompasses any non-commercial, non-professional, short-run publication that seeks to be defined as a zine. They can be traded, sold, gifted or collected, while remaining ephemeral at the same time. The Library has over 15,000 zines, making it the largest public collection in Australia.
Assorted zines from multiple authors, from the library’s Rare Books Collection

Assorted zines from multiple authors, from the library’s Rare Books Collection

A framework of postcard collages

Recently landed: A framework of postcard collages, a new article on Marginalia (by Gracia) takes a look at preparations for A Whisker of Light at Maitland Regional Gallery, NSW, in 2018

Mapped out on the floor, seventy columns of postcard collages, in preparation for a forthcoming exhibition of our work at Maitland Regional Gallery in the new year

Exclusive to Milly Sleeping

Head to Milly Sleeping, Carlton, to find our newest zine, It was a familiar pattern.

A little mesmerising flipbook, based on a moving collage of the same name. Let the pages flutter with pace and watch an unexpected assembly surface from the sea (and retreat again) afront a passing ship.

Created for (and currently exclusive to) Milly Sleeping.

Printed in Melbourne; assembled and editioned by hand by Gracia Haby & Louise Jennison AKA Gracia & Louise.

PS. This work also relates to an exhibition called
Looped, now showing in the Latrobe Reading Room at the State Library of Victoria.

Milly Sleeping
157 Elgin Street, Carlton

Or pick up a copy at Milly Sleeping online.

A zine, created from our collage of moving parts, It was a familiar pattern, 2017, created especially for Milly Sleeping's exhibition, Unusual

A zine, created from our collage of moving parts, It was a familiar pattern, 2017, created especially for Milly Sleeping's exhibition, Unusual

Not my sky (exhibit A)

We have created Not my sky (exhibit A), 2017, especially for Rona Green's print exchange and exhibition, Imaginings.

Friday 1st – Tuesday 19th of December, 2017
7 Campbell Street, Collingwood

Emma ‘Ruby’ Armstrong-Porter, Janet Ayliffe, Susan Baran, Kylie Blackley, Helen Blue, Loris Button, Elaine Camlin, Laura Castell, Jenny Clapson, Elizabeth Cole, Paul Compton, Rachel Derum, Sue Ernst, Ian ‘Spike’ Farrawell, Philip Faulks, Kevin Foley, Sue Fraser, Rona Green (curator), Gracia Haby & Louise Jennison, Gregory Harrison, Carolyn Hawkins, Bill Hay, Kate Hudson, Kyoko Imazu, Jet James, Deborah Klein, Jo Lankester, Suzie Lockery, Cassie May, John McClumpha, Aaron McLoughlin, Lorelei Medcalf, Glenn Morgan, Karen Neal, Belinda ‘Billy’ Nye, Sharron Okines, Diana Orinda Burns, Glenda Orr, Travis Paterson, Jim Pavlidis, Sue Poggioli, Jocelyn Rawlins, Bronwyn Rees, Trudy Rice, David Rosengrave, John Ryrie, Jill Sampson, Gwen Scott, Benjamin Sexton, Heather Shimmen, Glen Smith, Sandra Starkey Simon, Mrs Stamp, Maggie Stein, Rachel Suarez, Sophia Szilagyi, Scott Trevelyan, Lee Ward, Peter Ward, Justin Watson, Andrew Weatherill, Lynette Weir, Joel Wolter, Christine Wrest, Smith

Curated by Rona Green

Launching this Saturday 2nd December from 2pm. See you there.

Gracia Haby & Louise Jennison, Not my sky (exhibit A), 2017, inkjet print

Extended exhibition dates

We are delighted that our exhibition, Looped, has been invited to stay on display in the library until August, 2018!

Looped was initially set to fold away today, the 26th of November, 2017.

Presented in partnership with State Library Victoria
Now until August, 2018
La Trobe Reading Room, State Library Victoria
328 Swanston Street, Melbourne


Gracia Haby & Louise Jennison, Looped, State Library Victoria, 2017

The Confessional

We have work in the group exhibition, The Confessional, curated by Carly Richardson and Alice Dickins, alongside Pia Johnson, Lucy Foster, Julia Powles, Stephanie Karavasilis, and Laura McPhee-Browne. We have work in four of the mailboxes, and we invite you to get up close and peer into them. The exhibition runs until the 2nd of December, 2017.

Mailbox Art Space
141–143 Flinders Lane, Melbourne

The Confessional, Mailbox Art Space, 2017


Recently landed: Submerged, Gracia's written response to Salt, for Fjord Review

Like Whoville appears to the elephant Horton (Dr. Seuss, Horton Hears a Who!, 1954), a tiny speck, that’s how our planet looks from up high. In space, if you were to look down your trunk, earth is but a blue dot on a vast, dark blanket. On the surface of things, two thirds of our home appears as ocean, but this is only part of the picture. The earth is three-dimensional, not two, and so, in actual fact, our planet, our Whoville, is 99% water. The three dimensional volume, the biosphere, it extends down into the soil we stand upon, and over our heads, through the tree canopy and beyond. And out in the deepest point of the ocean, the depth is almost seven miles. To us land-based creatures, this is almost too much to fathom.

But cause and effect, we all understand. As the oceans warm, the marine biosphere changes as the water becomes less alkaline (as carbon dioxide in the atmosphere dissolves at sea). Together with marine pollution, the devastation of mining and gas development, the destruction of marine habitat, and unsustainable fishing practices, our cause and environmental effect: the ocean is under threat.

From plankton to humpback whale, what’s all this to do with dance?

Quite a bit, my call from a jukung, bobbing on the water, for though Eko Supriyanto’s
Salt is an introspective solo work, it is also about the threats facing Indonesia’s marine life. History, and the actions we take based upon the knowledge we acquire, shapes our future. In Salt, the third in Supriyanto’s Trilogy of Jailolo, still wet from its world premiere at deSingel in Belgium, the audience is invited to dive beneath the ocean surface. From my seat in the Sylvia Staehli Theatre of Dancehouse that is precisely what I did. I tipped my wobbly seat over, and dived in. When your home is an archipelago comprised of approximately 17,000 islands, what happens in the water is not to be ignored.

Eko Supriyanto’s Salt (image credit: David Fajar)

La Trobe Reading Room

Recently landed: La Trobe Reading Room, a new article on Marginalia (by Gracia) takes you beneath the glass of Looped

Gracia Haby & Louise Jennison, Looped, State Library Victoria, 2017

Looped downloadable zine

If you cannot swing by the library to collect our free zine, you can now download our Looped zine, which includes the text, A whisker lighter, and a complete list of works (16 page pdf).

Presented in partnership with State Library Victoria
Until Sunday 26th of November, 2017
La Trobe Reading Room, State Library Victoria
328 Swanston Street, Melbourne

Gracia Haby & Louise Jennison, Looped, State Library Victoria, 2017

Gracia Haby & Louise Jennison, Looped, State Library Victoria, 2017

Last days of something Unusual

Last weekend to see our collage of moving parts, It was a familiar pattern, tickling the walls of Milly Sleeping.

Fourteen local makers present new works using ideas, methods or materials that differ from their usual modes.
Until Sunday 29th of October, 2017
Milly Sleeping
157 Elgin Street, Carlton

Gracia Haby & Louise Jennison, It was a familiar pattern (detail), 2017, moving collage


We have created With your hand on my cheek, I looked up at the sky, 2017, especially for BLINDSIDE'S B-SIDE fundraiser exhibition. Our inkjet print on Hahnemühle Photo Rag 308gsm, 16. 5 cm x 16.5 cm, is available for a song on the opening night, and our (bright, beautiful, brilliant) B-side is none other than (brimming with all good things) Mr. Theo Strasser.

Friday 3rd – Friday 10th of November, 2017
Room 14, Level 7, 37 Swanston Street, Melbourne

Launching this Thursday 2nd November from 6pm. See you there.

For B-SIDE, BLINDSIDE will present a large scale exhibition of works for sale by our accomplished and significant alumni. Exactly half of the work in B-SIDE will be hidden. Each artwork on display in B-SIDE will be linked to a partner work (a b-side), which will be revealed only to the buyer.  As a fundraising exhibition B-SIDE will support the ongoing activity of BLINDSIDE into the future. For the past 14 years BLINDSIDE has provided a vibrant space for artists to test ideas and challenge conventions. B-SIDE will facilitate BLINDSIDE's continued program of experimental exhibitions, critical and engaging public programs, as well as support arts writers, curators and artists at all stages of their careers.


Adriane Hayward with Anna Dunnill
Alica Bryson-Haynes & Ria Green with Lizzy Sampson
Andrew Tetzlaff with Ania Walwicz
Boe-Lin Bastian with Elyss McCleary
Bridie Lunney with Sophie Cape
Carly Fischer with Shannon Lyons
Ceri Hann with Lynda Roberts
Charles O'Loughlin with Amy May Stuart
Chris Bond with Wes Thorne
Claire Anna Watson with Sarah Wilmot
Claire Mooney with Natalie Mather
Clare Rae with Melanie Irwin
Colleen Boyle with Rebecca Najdowski
Craig Easton with Joyce Huang
David Thomas with Rushdi Anwar
Diego Ramirez with Katie Paine
Drew Pettifer with Louis Cooper
Eva Heiky Olga Abbinga with Ceclia Dowling
Gabriel Tongue Nilsen with Billy Bartley Nees
Gracia Haby & Louise Jennison with Theo Strasser
Hana Vasak with Jacqueline Stojanovic
Hannah Raisin with Tsohil Bhatia
Hanna Tai with Eliza Turnbull
Jessica Curry with Harry McLean
Jessie Scott with Miranda Leibscher
John Brooks with Audrey Tan
Julia Powles with Peter Westwood
Kate Just with Kellie Wells
Kate Robertson with Kirsty Macafee
Kate Rohde with Emma Homfray
Kate Shaw with Siobhan Ryan
Kawita Vatanajyankur with Kunthong Sumree
Kiron Robinson with Tori Lill
Leslie Eastman with Natasha Johns-Messenger
Lucie McIntosh with Maya Chakraborty
Martina Copley with Francesca Rendle-Short
Melanie Jayne Taylor with Marc Sancho
Nicholas Chilvers with Peter Clynes
Penelope Hunt with Tara Gilbee
Peter Westwood with Julia Powles
Phuong Ngo with Kali Michailidis
Pip Ryan with Natalie Ryan
Ria Green with Clare Humphries
Ross Coulter with Ben Burgess
Ruth Johnstone with Barbe Scarlette
si ma va with Anonymous
Steven Rendall with Andrea Eckersley
Tai Snaith with Sean M Whelan
Xanthe Dobbie with Elizabeth Mitchell

Count me in

Recently landed: Count me in, Gracia's written response to More up a tree at Melbourne Festival, for Fjord Review

Within their glass enclosure, White sat in the corner behind his drum kit. He had cast off his boots, and was using them like two soft vessels to hold his sticks. From where I sat, I could see his socked feet at the pedals, lending an air of spying-on-the-neighbours candour to the performance. He exchanged a quiet smile with de Serpa Soares as she mapped out the space with increasing intensity and pace. Caught unawares, as they teased out movement in response to sound and sound in response to movement, for the main, their containment appeared a liberating sanctuary. Hidden behind a wall of noise, de Serpa Soares could yell at the top of her lungs, but I couldn’t fully hear her. She shook sound from her body as if coaxing it all the way from her little toes, up her legs and torso, and out of her mouth. There goes the hard day; and over there, the weight of the world, discarded. They were playing, releasing, experimenting, and I was watching, experiencing, vicariously. The two of them, to paraphrase the filmmaker Andrei Tarkovsky (when he wrote of the distortion of time as a means of giving it rhythmical expression), “sculpting in time!” Later, a little ‘cha-cha-cha’ sing-song movement, which I defy anyone to say or do huffily; some words and actions are happy making, no matter how you spin them.

Earlier the space had evoked a zoo enclosure, with de Serpa Soares stalking like a panther in a cage. Back and forth, her feet on repeated loop, wearing a hole in the carpet. In her march, she paused for a moment, in the corner of her confines and looks upward at the wall, her expression was one of steely focus: I will scale these walls and escape. Wild creatures confined, they break my heart, and this was perhaps why I enjoyed seeing de Serpa Soares later shake loose with high kicks, and roar, falling in and out of time.

The Rear Window style voyeurism, illumination of mundane fragments, and human modifications to architecture and personal space in Sussman’s earlier video works, Wintergarden, Balcony, and Seitenflügel (Side Wing), created with Simon Lee, is embedded within More up a Tree. Watching White play, he could well have been an unassuming inhabitant in his lounge room, in the large Berlin apartment building of Seitenflügel. To me, reflective imagery in Sussman’s work references the two sides of the one coin: time and memory. More up a Tree holds a mirror to time and memory for the performers and the audience alike. The circles de Serpa Soares drew with her bended knees pressed together at the beginning were there at the end. Her slow motion, cat-like prowl, high on all fours, also. It repeated, and yet it changed. And when the performance ended with the mirrored screen once more reflecting the audience, we were in the same position, and yet we’d changed, hadn’t we? Not so static after all.

More up a Tree at BAM Fisher, 2015 (image credit: Rebecca Smeyne)