To share the song of the earth through creative practice…
1. To re-invest in fine craft as well as the site-specific visual and performing art.
2. To recognise, respect, support, and inspire local artists and art communities.
3. To act ethically, generously, and sustainably within a diverse community.
4. To connect with skilled artists from around the world and bring their expertise to the local.
5. To recognise and converse with the artistry of the non-human: birds, trees, rocks, mountains, fungi, earth, water, insects.
6. To explore, research, write about, and practice creative ideas and approaches which share the song of the earth.
Run workshops and classes that celebrate the fine hand crafts: in furniture making, woodworking, metal working, copper smithing, blacksmithing, weaving, basket-making, jewellery, leather working, shoe making, painting, paper sculpture, ceramics, etc. 1, 2
Hold masterclasses with an internationally recognised artist (at least once per year). 4
Run workshops in writing, poetics, law, ideas, soundscapes, landscapes, that focus on our place in the natural world. 5, 6
Hold workshops that converse directly with small places (at least once per year). 5
Hold concerts and performances with musicians who work with place and soundscapes (at least two per year). 1, 2, 4, 5.
Participate in external collaborations/ exhibitions and give talks and presentations, both nationally or internationally (between one and maximum of three per year). 1, 6
Publish written word pieces in books, magazines, and online. 6
Hold Sunday afternoon gatherings for artists and interested community members to discuss art and share food and drinks (50 Sunday afternoons per year). 2, 3, 4
Identify and substantially fund local activities that speak to our aims (2 to 5 per year). 2, 3
Hold language of country talking circles with Indigenous elders (at least once per year). 3, 5
Involve young people through a volunteer program that exchanges labour for participation in studios and workshops. 2, 3
Manage other skilled volunteers with ongoing support and a developed program. 3
Provide free events and shared conviviality, from weekly Tai Chi to festivals, that celebrate our inhabitation of place (Currency of Birdsong, concerts, meet-the-artist, Long Tables, shared meals, etc). 2, 3, 4, 5, 6
Exchange local resources (food, labour, tools, materials) to build webs of connection. 2, 3
Pay for international respected artists and artisans to stay as artists-in-residence. 1, 4
Provide free accommodation and food to visiting artists (~10 per year). 1, 2, 3, 4
Showcase the work of artists (local and inspirational) in our mini-gallery. 1, 2, 3, 4
Visit, support, and buy works from other local collectives including Tall Trees (Cooran), Quixotica (Cooroy), Old Railway Gallery (Pomona), and other local and located initiatives as they emerge. 1, 2, 3
Support (fund, promote, provide labour and/or participants to) Bunya Dreaming (Blackall Ranges), Floating Land (Boreen Point), Mary River Festival (Kandanga) and other local creative celebrations of place. 3, 4
Ensure time for artistic development of works by resident artists and support mechanisms for dreaming, making, and selling works through online and gallery promotions. 1, 2, 5, 6
Maintain and develop our studios, teaching and performance spaces, including wood studio, clay studio, metal area, teaching space, gallery, café, toilets, outdoor stages. 1
Maintain and promote our activities through web pages and social media. 1, 2, 3, 4, 5, 6
Develop, catalogue, and make accessible, a library of art and environment and heritage books. 1, 2, 3, 4, 6
Provide ongoing studio space to local artists, as well as temporary space to visiting artists. 1, 2, 3, 4
Provide our own water, power, and waste management through tanks, solar and woodlot, composting toilets, compost, recycling, re-use and exchange. 2, 3, 6
“Artists” include writers, musicians, soundscape artists, dancers and body workers, sculptors, painters, eco-dyers, ceramicists and potters, furniture and wood artists, jewellers, metal workers, art blacksmiths, and other designer-makers who fully practice the fine craft of place. Artists are non-human as well as human: the bark and grain of trees speak a language that human poets might translate; the song of the birds merges with the improvisation of the cellist; the wind moves in the grasses like the human hand with the woven reed.
“Craft” is not a dirty word. There is a writer’s craft and a woodcraft; a craft of potters and of pottering; a sound craft of collaboration across this more-than-human world. Craft is slowly learning a fine skill set through hand, heart, and mind. Craft is re-membering the world. Craft is listening to the voices of natural materials. Craft is learning to inhabit the flow of place and the song of the earth.