Blake Poole is a Fremantle/Walyulup based artist who designs dynamic compositions of Australian iconography, paying focus to warped perspective and saturated colour schemes. Being a muralist and having a background in street art, his preferred medium is aerosol, however using acrylic and oil based paints has become a passion of his. He utilises the reductionist method of painting, using quick techniques, and a raw, unrefined brush stroke. During their stay at Donnelly River Blake aimed to capture the colours of autumn, directing his attention to the cute houses and the shedding of the red gum. 

Alice Ford is an interdisciplinary Artist and recent Architectural Graduate based in Whadjuk Noongar Country, Walyalup, Western Australia. During her week at Donnelly River, she used gouache and oil painting to study the happenings in the Karri forest, from ground to sky. Investigating stories around Donnelly, she painted moments shared by the artists that were reminiscent of events in Donnelly River when it was a timber milling town decades ago, connecting now to then, through paint. 

Barry Emerald is a Fremantle artist with a focus on murals and graphics. He specialises in abstract designs with bold shapes and block colour. During his stay in the Kari forrest he chose to focus solely on engraving. He experimented with shading and depth using an Ozito engraver to decorate everyday glass and ceramic items with forrest icons and text. Drawing inspiration from the regions brutally cold nights and unsettling history, his works represent the darker side of this eerie cabin village in the woods. 100% of all Barrys engraving sales will be donated to the National Suicide Prevention and Trauma Recovery Project. 

Georgia Herbert is a passionate multi disciplinary visual artist with a focus on material exploration and environmental art. They are interested in the intersection of domestic crafts and femininity as a conceptual tool in contemporary art. Their works aim to be immersive installations that use sensory cues to capture the audience’s imagination and perceived memory. Ceramic sculpture and performance work have primarily been their exhibited work up to this point. In 2020 they formed the arts collective ‘sediments’ as a way to encourage, help and expand emerging artists practices. Inspired by Allan Kaprow’s writings about the nature of experience and its relationship to the practice of art, their work is often created in-situ. 

Shupiwe Chongwe is a Walyalup (Fremantle) raised ceramicist focusing on creating unique pieces that speak to her love of nature and small daily rituals. Shupiwe mainly practices with stoneware clays producing sculptural forms as well as functional art for the home. Shupiwe’s journey with ceramics started from a young age, inspired by her father; well known Australian-Zambian ceramicist Njalikwa Chongwe. Her family connection to the discipline dates back even further, to her great great grandmother Wajipha who was a practicing potter in Zambia. Shupiwe takes much of her inspiration from organic forms within nature. During the ‘Taking Shape’ residency at Donnelly River Village, Shupiwe spent most of her time experimenting with new shapes inspired by the profound beauty of Kari forest and Bibbulman country. Through her sculptural work Shupiwe hopes to reflect both the strength and fragility of the forest ecosystem. By employing sgraffito techniques on functional wares, the artist also aims to illustrate the many beautiful moments shared between artists and friends, creating side by side. 

Nansen Robb is a multidisciplinary artist born in Boorloo (Perth) and living in Dwellingup, who’s practices include analog photographic process, painting and sound. Using 35mm film, Nansen is interested by the patterns, textures and rhythms of what they see, their practice focuses on the unexpected scenes that arise out of the developing and scanning process. They like abstracting the elements of form and texture, taking them out of context and letting them speak for themselves. Nansen creates sound works that echo the rhythms of animals and plants as they cooperate symbiotically with each other. They aim to immerse the viewer, providing them with a sense of familiarity to the passing melodious moment or belonging to the steady hum of the ground itself. During their residency at Donnelly River, Nansen gathered sights and movement from the thick understory and observed the patterns of sun, shadow and the weathered barks of dancing Karri’s. Through their practices described above, material was gathered and compositions emerged to come together with the medium of film. Speaking in the languages of form and sound, Nansen expresses the wonders of the forest and tells a story of how we engage with place.