Andrew Welch - Program Director, Bachelor of Visual Arts
andrew.welch@unisa.edu.au
Louise Haselton completed a Bachelor of Visual Arts (Sculpture) at The University of South Australia, 1991 and a Masters of Art (by Research) at RMIT University, Melbourne in 2002. In 2005 she undertook a Helpmann Academy Residency at Sanskriti Kendra, Delhi, India. Haselton’s sculptural artwork has recently been exhibited in "Do It Adelaide" at the Samstag Museum of Art, Adelaide, "Magic Object : Adelaide Biennial of Australian Art", at The Art Gallery of SA and "Fabrik" at the Ian Potter Museum and Sutton Gallery Project Space, Melbourne. Haselton has held major solo exhibitions at The Contemporary Art Centre of SA and The Australian Experimental Art Foundation, Adelaide. Louise Haselton is represented by GAG projects... Read more
About me
Louise Haselton completed a Bachelor of Visual Arts (Sculpture) at The University of South Australia, 1991 and a Masters of Art (by Research) at RMIT University, Melbourne in 2002. In 2005 she undertook a Helpmann Academy Residency at Sanskriti Kendra, Delhi, India. Haselton’s sculptural artwork has recently been exhibited in "Do It Adelaide" at the Samstag Museum of Art, Adelaide, "Magic Object : Adelaide Biennial of Australian Art", at The Art Gallery of SA and "Fabrik" at the Ian Potter Museum and Sutton Gallery Project Space, Melbourne. Haselton has held major solo exhibitions at The Contemporary Art Centre of SA and The Australian Experimental Art Foundation, Adelaide. Louise Haselton is represented by GAG projects Greenaway Art Gallery, Adelaide.
About me
About me
Master of Arts (Fine Arts) Royal Melbourne Institute of Technology
Bachelor of Education South Australian College of Arts and Education
Bachelor of Arts (Visual Arts) University of South Australia
"Re-presenting the overlooked is important in my work. I'm interested to see if the simple act of presenting something cast-off can be restorative. It's very satisfying to scrounge for unloved materials and objects and resuscitate them. That can be simply through giving them new company, by combining a rock with some packaging or some shells with chain; to point to another life or function that something could hold, the potential of things can lie latent and be animated through a simple act."
From an interview with Michael Newall, Errand Workshop catalogue, 2011.
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.
Research
"Re-presenting the overlooked is important in my work. I'm interested to see if the simple act of presenting something cast-off can be restorative. It's very satisfying to scrounge for unloved materials and objects and resuscitate them. That can be simply through giving them new company, by combining a rock with some packaging or some shells with chain; to point to another life or function that something could hold, the potential of things can lie latent and be animated through a simple act."
From an interview with Michael Newall, Errand Workshop catalogue, 2011.
External engagement & recognition
| Organisation | Country |
|---|---|
| University of South Australia | AUSTRALIA |
External engagement & recognition
Teaching & student supervision
Supervisions from 2010 shown
| Thesis title | Student status |
|---|---|
| Beyoncé is a Port supporter: an investigation into female fan culture, textiles and personal identity | Completed |
| How to write a fan letter: the generative potential of pop-culture fandom in contemporary visual art practice | Completed |
| Hybrid assemblages:a pleiodisciplinary exploration of grid-based generative art systems | 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 |
| Making sens-ible : embodied cognition in sculptural practice | Completed |
| Monsters, meat and meta; an artist¿s guide to making a friend of the horror genre | Completed |
| The great shroud: exploring the sublime as oceanic otherness through a contemporary visual arts practice | Completed |
| To Brancusi and back via Bunnings: the return to the studio within contemporary sculpture | Completed |
| Vulnerability and generosity: sensibilities in contemporary figurative painting | Completed |
| White anaesthesia: distancing in painting through the use of photographic and cinematic imagerySound Made Visual: The Convergence of Independent Punk/Rock Music within Contemporary Visual Art and the Academy. | Completed |
