Catherine Truman

Catherine Truman

1957,Glenelg, South Australia

• 2004: Masters Of Fine Art Candidate, Monash University, Melbourne Australia
• 1995-1999: Feldenkrais Practioner Training, Perth, Australia
• 1990: Study Netsuke Carving Techniques Tokyo,Japan
• 1981-1985: Assoc. Dip Jewellery / Metalsmithing . University of South
• Australia
• 1975-1978: Diploma of Teaching , Bachelor of Education, Secondary Fine Art, University of South Australia.

• 1985 -2004: Founding and current partner Gray Street Workshop
• ( Contemporary jewelry artists' studio) .Travel and forums in Taipei and Kyoto
• 2003: Residency Manchester Metropolitan University ( HAT Project) Workshops and lectures. Travel throughout UK, Scotland
• Delivered paper at 'Eye of the Beholder': ACJ international Contemporary Jewelers Conference, Manchester, UK
• 2002: Aust. Council residency British School at Rome studio-Travel to London and throughout Italy researching anatomical models and religious carvings
• 2001: Accompanied Circling the Square Exhibition to Chiang Mai & Bangkok Thailand
• 1997: Accompanied "The Somatic Object "exhibition to National Museum of History, Taipei, Taiwan ,delivered paper on practice at Australia/Taiwan museums conference.
• Artist in Residence, Museum and Art Gallery of the Northern Territory. Australia
• 1995-97: Feldenkrais Training:Australian Feldenkrais Foundation, Perth, Western Australia
• Travelled to Netherlands, London, Spain 4 months reseaching anatomical collections.
• 1990: Awarded Japan/South Australia Cultural Exchange Scholarship to study with 4 contemporary Netsuke carvers.

• 2001: Sensuous Interiors Under Scrutiny,. ( with Sue Lorraine) Gallery Funaki, Melbourne,Victoria, Australia
• 1998: Invisible Places To Be , Fingers Gallery, Auckland, New Zealand
• 1997: Catherine Truman: Carvings, Museum and Art Gallery of the Northern Territory Australia
• 1994-92: Lifeboat:Carvings by Catherine Truman ,
• JamFactory,Main Gallery, Adelaide,South Aust,Craftspace, Sydney, Craftwest,Perth, Media Com, Okayama, Japan,
• San Francisco International Airport Museum,USA.

• 2004: 2004- Australian Culture Now, National Gallery of Victoria
• SOFA New York repr. by Charon Kransen Arts USA
• SOFA Chicago repr. by Charon Kransen Arts USA
• 2003/4: Light Black, Jamfactory ,Adelaide,Sth Aust, Museum of Contemporary Art, Tokyo, Museum of Contemporary Art, Tokyo, Museum of Contemporary Art, Kyoto,Japan.
• 2002: British School at Rome Exhibition, Rome, Italy
• Material Culture,Australian National Gallery, Canberra ACT
• 2001/2: Mikromegas, Gallerie of Applied Art, Munich, Germany
• American Craft Museum,New York,Galerie Yu,Tokyo, Museum of Art and History, Geneva. Powerhouse Museum, Sydney, John Curtin Gallery, Perth. Australia
• 2001: Orbit, Art Museum, University of South Australia
• 2000/01: 2000 Frankfurt International Craft Triennale,Museum fur Kunsthandwerk,Frankfurt,Germany, Art Gallery of South Australia,Adelaide
• Circling the Square:Gray Street Workshop 15 Years on, (National touring,Gray Street Workshop,Adelaide, Craftwest,Perth, Gallery 482,Brisbane,Object Galleries Sydney (an Olympic Arts Event),Craft ACT, Canberra )
• Craft Victoria, Melbourne. Asialink tour: Bangkok,Chiang Mai,Singapore,Kuala Lumpur,Bandar Seri Begawan.)
• Gray Street Workshop: 15 Years,Art Gallery of South Australia
• 1999: SOFA: New York, NY SOFA,Chicago, repr. by Charon Kransen Arts USA
• Schmuck '99, Munich, Germany
• Australian Craft, Hokkaido Museum, Japan,Powerhouse Museum,Sydney Australia
• 1998: Seppelt's Contemporary Art Award,Museum of Contemporary Art, Sydney. Object Design Finalist
• Overseas,Jewellery from Australia, Gallery Ra, Amsterdam
• Jewellery Moves, Museum of Scotland, Edinburgh. UK

• 2003: Here and There project Residency. Manchester Metropolitan University
• 2001/2: Australia Council Overseas Residency -The British School at Rome,Italy
• 1998: Seppelt's Contemporary Art Award,(Selected Finalist: Object Design Catagory) Museum of Contemporary Art, Sydney.
• Royal Institute of Architects Art and Architecture Award; Gray street Workshop / Steve Grieve Architects
• 1995/96: Australia Council Multi-year Fellowship.
• 1990: Japan/South Australia Cultural Exchange Scholarship

• 2000: "A Way of Seeing", David Jones,Adelaide, North Tce Facade. Bronze/Optic Fibre Sculpture
• 1998/9: Frenchman's Rock,Penneshaw, Kangaroo Island; stone, bronze, water sculpture.
• Gillett Residence, Adelaide; fence,gate,interior detailing
• 1996: West Tce Cemetary Baby Memorial, Adelaide
• Granite sculpture/ landscaping with Julie Blyfield, Sue Lorraine.
• Adelaide Festival Centre- Optus Foyer, refurbishment
• Terrazzo floor, Glass counter, with Gray Street Workshop
• 1994/96 Art Gallery of South Australia, Adelaide, SA.
• Gates and pathway elements / Gates for new extensions.

• Danner-Stiftung,Pinakothek der Moderne,Munich
• Auckland Museum, NZ
• Artbank, Australia
• Australian National Gallery, Canberra, ACT, Australia
• Powerhouse Museum, Sydney, NSW, Australia
• Art Gallery of South Australia, Adelaide, South Australia.
• Museum and Art Gallery of the Northern Territory, Australia
• University of Tasmania, Australia
• Queensland Art Gallery, Australia

• 2004: 2004 :Australian Culture Now.,National Gallery of Victoria. pp198,218
• 2003: Light Black Catalogues.3 editions: , Jamfactory Adelaide,Tokyo Museum of Modern Art, Kyoto,National Museum of Modern Art.
• 2002: Australian Art in the National Gallery of Australia ,editor Anne Gray
• 2001: Supple:The Work of Catherine Truman, by Christine Nicholls Art Monthly,.Mat 2001, number 139.Front cover, p 8-12
• 2000: The Weekend Australian Arts Review "Leaves blowing in bronze"
• Peter Ward, May 20-21 p22.
• Object 2 / 2000 ,"The Return of Beauty/Quintet/ Gray Street Workshop" Wendy Walker,pp18,19.
• Monument"Olympic Objects"Site/Exhibition, Morgan Richards pp32,33
• 1998 Seppelt's Contemporary Art Award at the Museum of Contemporary Art ", Michael Bogle.
• Catalogue: Contemporary Australian Craft Powerhouse Museum, Grace Cochrane, P153, 121 pl 128

The interior of the body is a concealed territory- the less we see the more we imagine.

I'm interested in how we reveal and conceal the unfamiliar- the unaccustomed, the invisible.

During a practice spanning 25 years, a curiosity of the very nature of the human body itself has always been a potent resource for the subject matter of my work and my choice of medium.

My current interests lie in the ways in which human anatomy has been translated through artistic process and scientific method -how the experience of living inside a body has been given meaning.