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A record of mixed media works on paper submitted for Sydney Contemporary 2019. 2019 Paper Contemporary a Sydney Contemporary event +

An exhibition of engagement with materials through responding, making and assembling- a way of making sense of experience. Byproducts This body of work showcases a collaboration with materials. This collaboration generally occurred at two levels: the selection of materials whose lives originated for a different purpose, and the artist’s response to their inherent properties. They in turn are informed by a narrative of migration and its intergenerational effects. The plywood offcuts are remnants from previous projects, readapted into new work. Forms shaped by plasters and pumice intimate the byproducts of forced displacement and increased disorder. Cardboard boxes, an ambivalent material, are perceived as a symbol of a system designed to generate profit from cheap labour; here they suggest two readings, one is the drive of aspiration for a better life, and the other is a homage to those who delivered a better life to the coming generation. Working with these materials also demanded a response to the incidentals of their unexpected behaviour. Like gifting another vocabulary to a sentence, these incidentals pointed to the resolution of each work. The sense of these works, engendered through their materials and assemblage is at times contradictory, at others complimentary. It evokes senses of detachment and attachment, presence and absence, contact and separation, abandonment and reclamation, permanent and transient. Ultimately, the process of making is a way of engaging with the byproducts of displacements and emplacements. Working with the repurposed materials, and assigning them with a new identity, suggests a making good– reordering the disorder. Individual Works Installation View

Information on the artist with artist statement, biography, CV, history of exhibitions, awards, projects, and trainings. Anie is an Australian artist based in the Gadigal land of the Eora people [Sydney, Australia] whose practice primarily focuses on the use of materials, with their intrinsic properties woven into the narratives of her work. These narratives explore the human body and its sensory processes, delving into how we interpret and make sense of our experiences. Often, metaphors reflecting the emotional effects of engagement, disengagement, and re-engagement are embedded in the spatial arrangements and materials used. Broadly, her narratives are drawn from periods of temporal settlement in various cultures during formative years. The spatial arrangements, shapes, borders, and surfaces are essential in the creation of the imagery. Anie has also had the opportunity to collaborate with a range of artists, which has allowed her to interpret and respond to works beyond her practice, deepening her understanding of her art. Selected Exhibitions, Projects, Awards 2025 Paper Contemp orary, Sydney Contemporary , Carriage Works, Newtown 2024 Byproducts , SLOTprojects, Alexandria Flotsam jetsam, SLOTwindow, Alexandria 2023 Paper Contemp orary, Sydney Contemporary, Carriage Works, Newtown SLOT20, Delmar Gallery, Ashfield Passing Through , Slot, Alexandria 2019 Paper Contemporary, Sydney Contemporary, Carriage Works, Newtown Group Print Show, Factory49, Marrickville Paean , Slot, Alexandria A silver voice from the corner, 2018 2018 Feeling Bodies , The Waiting Room, Sydney Hospital Constellation In the Cranny (solo), AIRspace Projects, Marrickville Paper Contemporary, Sydney Contemporary, Carriage Works, Newtown Waverley Art Prize, Highly Commended (Mixed Media Category) 2017 On Paper (solo), Factory49, Marrickville Paper Contemporary, Sydney Contemporary, Carriage Works, Newtown 2016 Forms on Edge (solo), AirSpace Projects, Marrickville Youkobo Art Space a Tokyo Residency Open Sttudio Liquid, Paper and the Space in Between 2015 The elephant in the room , Slot, Redfern Paper Contemporary, Sydney Contemporary, Carriage Works, Newtown Openings [a group painting exhibition], AirSpace Projects, Marrickville 2014 Intimate Worlds [a group painting exhibition], AirSpace Projects, Marrickville 2012 Several Ways of Conversations (collaborative drawing exhibition as 3ppod), Shihan Gallery, Seoul, South Korea Remarking | Remaking , Blacktown Art Centre, Sydney Yarns between Bubbles (collaborative drawing as 3ppod ), Tin Sheds Gallery, Sydney 2010 Bodies in Sustained Emotions. galleryeight, Sydney 2008 At the Periphery of Space. Tin Sheds Gallery, Sydney 2007 My Story (group) Central Academy of Fine Arts, Beijing 2006 Tim Olsen Drawing Prize Kudos Gallery (Commended) 2004 Out On a Limb (group) Bathurst Regional Art Gallery 2003 Stitched, Naked (solo) 4A Gallery Hazelhurst Art Award: Art on Paper (Finalist) Training 2004-2007 MFA (Distinction) College of Fine Arts, UNSW 2004 Australian Postgraduate Award scholarship 1994-1997 BFA (Honours Degree, Class 1) College of Fine Arts, UNSW Professional Developments 2014-current Assists with projects at SLOT 2024-current Assists with projects at UPSpace Gallery 2017-2018 Committee member of AIRSpace Projects 2016 Artist Residency, Youkobo Artspace 2007 International Drawing Research Institute Symposium, Central Academy of Fine Arts, Beijing

A work of installation of mixed materials: plastic serving plate painted in gold colour, abstract geometric painting on 3 panels of hessian used for coffee beans exports, and an Ikea child chair in white. Paean Installation with painting on hessian, plastic serving plate, Ikea chair SLOT 28.04.2019 - 01.16.2019 Like many artists, Anie Nheu sees her life reflected in her art. She feels that because her life went one way rather than another her art has permission to go that way as well. As this idea of representation grows it becomes an exercise in mapping that can chart life across generations. It can stretch to accommodate ancestors and locate the artist with in a pantheon of concerns that artists will often describe as their way of making sense of the world. Anie was born on the road, as she said “moving from place to place with my parents since the civil war in East Timor”. To live a life, as she sees it, in 3 parts, now drawn into a “harmonious whole”. This is the map she has given us. Sketched out on 3 hessian bags stitched together with twine and Anie’s painting that has settled across the surface in a way that does not obscure the origin of her bags - bags,metaphorically that she has lumped since her days in East Timor as an infant. Of course the work is a painting, symbolic of nothing more or less than itself. It gracefully observes the conventions of abstraction and achieves a beauty that is new to the hessian sacks. But Anie has included some jarring elements. The work is improbably placed on the wall, as if she were to continue working on it rather than display it for our considerationThere is a chair, arbitrarily placed that seems to contradict our preconceptions of scale. And far off to the side is a golden oval that might be something venerated. The painting that is a map has been given its own space; its own set of preconditions that is different to ours. It is somewhere else. Tony Twigg