Peteris Ciemitis proudly formed part of the line-up of the State’s leading portrait artists in the “Skin Deep” exhibition opening at Moore’s Gallery Friday 9 March 2018.
‘Skin Deep 2018’ was the fourth annual exhibition by the WA Portrait Artists Association which comprised over fifty portraits by the fourteen participating artists whose work ranges from small to very large, from photorealism to expressive interpretations. The exhibition presented a diverse range of concepts and techniques representing contemporary portraiture at its very best.
This year, the exhibition also included a secret room; “Hidden”. What was there?
photography by Jillian Ciemitis
May 2018, Brookfield Place, Perth WA
Described as a ‘tour de force’ by Arts editor William Yeoman in the Weekend West newspaper, the Planners Exhibition “Painting the Town 2” not only added a unique event to WA’s cultural calendar, but also an inimitable counterpoint to the 2018 National Planning Institute Congress in Perth.
Led by Peteris Ciemitis, a passionate working group of artists, planners and administrators pulled together an art exhibition featuring 26 artists who also happened to be current or past practitioners in the Planning profession. Officially opened on by the Hon Mr John Carey MLA, (Parliamentary Secretary to the Premier of Western Australia) in front of an audience of 100 VIPs, the exhibition reprised a similar event first held in 2007 for the previous PIA Congress in Perth.
Curated by Judy Rogers, audiences saw over sixty works ranging from paintings on canvas, photography and even a surfboard.
September 2018, Dhaka Bangladesh
Currently, one third of the world’s Biennales take place in Asia, with the first being the Tokyo Biennale in 1952. However, it is the Asian Art Biennale in Bangladesh, a breakaway in 1981, that remains the oldest in the region, now in being held for the 18th time. Its also a Biennale in which Australia has had patchy presence. Until now.
The Australian artists to be included in the 18th Asian Art Biennale Bangladesh are west-coasters Jillian Ciemitis, Peteris Ciemitis, Judy Rogers and Monique Tippett.
The Biennale is based in the National Art Gallery, Dhaka and opens with official formalities on September 1, followed by two days of Symposia exploring the topics of “Between Art and Narratives” and “Pedagogy and Promotion”.
20 May – 4 June 2018
Jillian was delighted to be part of the Printmakers Assoc of WA ‘Press Gang’ exhibition at Zig Zag Gallery, Kalamunda.
A celebration of West Australian contemporary printmaking at it’s finest.
15 September – 15 October 2017
A Survey of Contemporary Western Australian Printmaking
Jillian Ciemitis screen print Pinnacle was on show at the Mundaring Arts Centre as part of the 26 S 121 E On the Map a Survey of Contemporary West Australian Printmaking. Featuring the work of 35 West Australian printmakers. Curated by Laura A Taylor.
On May 26, 2017, John Carey MLA, State Member for Perth and Parliamentary Secretary to the Premier launched a new book at the State Theatre of Western Australia.
The book “Skull Within Skin” by Carl Altmann and Dr Jan Altmann profiles selected works and projects by Peteris and Jillian Ciemitis. The 108 page book gave Jillian and Peteris Ciemitis opportunity to survey the spectrum of their work over the preceeding 10 years, and provide a framework for viewing their evolving narratives.
The title borrows from T.S. Elliott, quoted by Dr Altmann in describing the quality of the Ciemitis’ work as being able to see below the surface, or to quote Elliott, “the skull within the skin”.
The book retails for AUD$29.00 and is available from the bookstores shown above.
It will also be available on-line from this website shortly (or can be purchased now by emailing email@example.com).
May 26, 2017
We were humbled by the turn-up, love and buzz around our book launch of “Skull Within Skin” at the State Theatre of Western Australia last night.
So many spoke to us afterwards
© ‘Treasury’ 2016 screen print Jillian Ciemitis
Jillian Ciemitis’ screen print was awarded a high commendation at the Beverley Art Awards 2017, Western Australia.
Jillian Ciemitis and Peter Ciemitis were part of the successful MEADOWS “Personal Structures” exhibition in the Venice Biennale collateral program in 2017.
With the Biennale over, the installation commenced a European tour, opening at the glorious Villaguilua on Lakemaggiore Italy. Congratulations to Lena Kelekian Sulahian and Francesca Maurizi for success in their efforts to maintain exposure to this outstanding project.
When the Waterhall Centre in South Guildford, opened for business, it also unveiled an enigmatic series of floating images … a new public art installation called “The Gallery” by Peteris and Jillian Ciemitis.
The artists wanted to create a series of repeated images of trees as if they were portraits or ‘floating trees’ on exhibition. The floating trees of Waterhall are based on drawings which forensically examine the form and texture of their trunks and branches.
The Waterhall residential estate in South Guildford, Western Australia, has historically been part of the property holdings of the Guildford Grammar School, and it is recorded that some early tree plantings in the colony were undertaken in close proximity to the site. The artwork theme remembers the historic practice of clearing and replanting in the locality.
The artists used the negative space of the panels to allow branches to disappear and re-emerge in the same way they appear amongst foliage. The artists wanted to use this technique to make the images feel more abstract; almost like ‘messy calligraphy’.
They also played with the idea of repeated, ‘processed’ tree forms as references to the notion of commodification … especially in their position where they appear to be marching toward the loading docks of the centre.
The panel production used a Finnish concrete form methodology. The innovative technique embeds the image into the concrete panels themselves using a form of ‘etching’ process, creating an image that will last the life of the building itself.
Working in close consultation with the project architects KPA Architecture, the artists also carefully considered the manner in which the works should respond to context. The subtle colouring and mark-making ensured that the imagery didn’t attempt to compete with the architectural forms of the building. They also carefully positioned key images on the building so that they would almost classically align to the viewlines along particular roads when approaching.