Published 23 April 2026, updated 15 May 2026
This workshop presents drawing as an efficient, economical, and powerful tool for developing ideas and experimenting with process. Participants will learn practical drawing skills, build confidence and learn the value of taking risks to produce tangible works. This workshop focuses on the process towards creative discovery through a capable and fearless approach.
Cost: $12 (including fees) per person.
Places are limited and available to participants aged 10-14.
About the Artist
Andy Quilty is an artist, independent arts worker and lecturer in Fine Arts at the University of Western Australia. He works across the state, facilitating creative development workshops in schools, Aboriginal art centres, community organisations, not-for-profits and prisons. His practice identifies a creative visual language located in outer suburbia, incorporating material and psychological expressions, markings and gestures, positioned as inventive expressions of outer suburban experience.
About Andy's Biennial works (Ron Middleton Gallery)
The works presented ‘trace’ marks and forms found in outer suburbia that locate signifiers of socio-economic disparity, and the cultural hegemonies that sustain inequity through the distraction of manufactured colloquial narratives.
Inscribed in the bitumen of a coastal outer suburban carpark, the burnt remains of a stolen $280,000 Maserati Quattroporte have been recorded at 1:1 scale by frottage in graphite on a sheet of builder’s plastic. Located amongst high-end real estate on La Seyne Crescent in Rockingham, the carpark has since been demolished after resident complaints of hooning and anti-social behaviour. Along with a real estate sign found pushed over and skidded on with E-scooters, these destructions of luxury property are positioned as acts of resistance to encroaching gentrification in coastal outer suburbs.
Carborundum and drypoint prints traced from E-scooter skids on the carpet of Mandurah-line trains, and 3D printed tracings of car burnouts captured with Google Earth street view, advocate for the burnout as a form of egalitarian outer suburban printmaking, public art, a marking of territory, and a repudiation of authority. In the absence of equitable public education in the outer suburbs, these transgressive acts can be considered the creative expression of individuals who have not been afforded the opportunities that support conventional art practice.
Made in collaboration with the artist’s three and seven-year-old sons, a double-sided drawing suggests that selective histories serving the settler-colonial sense of belonging, perpetuate a kind of static learning that is counterintuitive to progress and empathy. In the artist’s hometown of Rockingham, machines of war act as unironic memorials in playgrounds, overly punitive models of justice satiate community fears, and bipartisan support allows public money in the billions to be spent on outdated military tech and accommodation for US soldiers, while a housing crisis forces an increasing number of locals to live on the street.