Welcome to Kay Lawrence's Home page. Formerly Head of the South Australian School of Art, I am now Emeritus Professor in the School of Art Architecture and Design. I am also a postgraduate supervisor for students enrolled in the PhD in Visual Art by Major Project, the Master of Visual Arts (research) and the Master of Design (research).
My particular interest and expertise is in the area of textiles practice and theory and in working with communities to address issues of public concern through textiles projects. I have an international profile as a tapestry weaver and have completed a number of major commissions for public spaces in Australia and overseas. My writing, published in catalogues, scholarly journals and books, focuses on the... Read more
About me
Welcome to Kay Lawrence's Home page. Formerly Head of the South Australian School of Art, I am now Emeritus Professor in the School of Art Architecture and Design. I am also a postgraduate supervisor for students enrolled in the PhD in Visual Art by Major Project, the Master of Visual Arts (research) and the Master of Design (research).
My particular interest and expertise is in the area of textiles practice and theory and in working with communities to address issues of public concern through textiles projects. I have an international profile as a tapestry weaver and have completed a number of major commissions for public spaces in Australia and overseas. My writing, published in catalogues, scholarly journals and books, focuses on the materiality and making practices that underpin contemporary craft.
About me
Board member of the Australian Tapestry Workshop, Melbourne Australia
Member of the Executive of the Australian Council of Art and Design Schools (ACUADS)
President of Craft Australia
About me
Diploma of Art (Teaching) South Australian College of Advanced Education
Fourth Year Specialist Study Edinburgh School of Art
Special Study in Woven Tapestry Edinburgh School of Art
My research interests are in the area of gender identity, place and representation, developed through drawing, woven tapestry and text. The position of textiles within the visual arts and crafts. The development of the community tapestry movement in Australia. The development of an international network of artists writers and theorists working in the area of woven tapestry.
Research
Excludes commercial-in-confidence projects.
The Parliament House Embroiderers oral history project, National Library of Australia, 09/07/2010 - 30/06/2016
In my latest project I have been working with a group of women artists in Bougainville. For more information about the project go here
Research
Research outputs for the last seven years are shown below. Some long-standing staff members may have older outputs included.
Open access indicates that an output is open access.
| Year | Output |
|---|---|
| 2018 |
Lawrence, K & Waters, S 2018, Clare Belfrage: rhythms of necessity, Wakefield Press, Australia. |
| Year | Output |
|---|---|
| 2019 |
Open access
|
| 2016 |
|
| 2013 |
|
| Year | Output |
|---|---|
| 2015 |
Open access
|
| 2013 |
|
| 2012 |
Lawrence, K 2012, 'Gathering threads', Word of Mouth, vol. 63, pp. 8-11. |
| 2011 |
Lawrence, K 2011, 'Can't you get a machine to do it?', vol. 27, pp. 5. |
| 2009 |
|
Research
My research interests are in the area of gender identity, place and representation, developed through drawing, woven tapestry and text. The position of textiles within the visual arts and crafts. The development of the community tapestry movement in Australia. The development of an international network of artists writers and theorists working in the area of woven tapestry.
External engagement & recognition
| Organisation | Country |
|---|---|
| Private Individual | UNITED KINGDOM |
External engagement & recognition
Teaching & student supervision
Supervisions from 2010 shown
| Thesis title | Student status |
|---|---|
| Re-conceptions of uterine discourse through a print-based practice | Current |
| Ambiguity makes sense: an exploration of the creative relationship between mothering and painting; featuring contemporary oil painting practice as an auto-ethnographic research methodology | Completed |
| Archival drift: attention, performance and affective ecologies in spatial art practice | Completed |
| Calaveras: ADL LAX MEX: interpreting the cross-cultural experience of Día de los Muertos | Completed |
| Expanded understandings of place making through genre painting: a heuristic study in the Mid North of South Australia | Completed |
| Fragmenting infinity - the limitless potential of artistic forms | Completed |
| Genealogical ghostscapes: unsettling settler colonial home-making legacies in South Australia | Completed |
| I love you, I hate you, I want to kill you: narcissistic fantasy as a narrative device in contemporary visual art | Completed |
| In vitro: investigating time through the perception of the invisible | Completed |
| Library of translation exercises | Completed |
| Making sens-ible : embodied cognition in sculptural practice | Completed |
| Organic versuss geometric - the exploration of formal codes used in visual communication as it pertains to gender, specifically Western and Middle Eastern women | Completed |
| Reimagining the mother: the horror and pleasure of reconstructing the 'self' in response to an absent mother. | Completed |
| The anatomical Venus. Exquisite disgust & desire: crafting the body in contemporary art practice | Completed |
| The distance within: investigating an experience of embodiment through glass making | Completed |
| The loom as a stage for performing the social and cultural meanings of craft and making | Completed |
| There is no place like home/s: an investigation into immigration, belonging and the hand-made object | Completed |
| Under the microscope: making art from science | Completed |
