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

Installation of mixed media (plaster, timber, cardboard, foam) in Chinese characters. Flotsam jetsam Installation of Chinese characters of google translation of 'flotsam jetsam' made with plaster, cardboard, foam, pumice, covered in gouache, Chinese ink, wax SLOT 18 ·08- 21 ·09 2024 Anie Nheu began a discussion of her piece Flotsam and jetsam by reading it aloud. Inadvertently perhaps, identifying her work as both poetry and installation. The large character in a box on the right reads as exit. The characters that follow speak of a watery journey and things thrown overboard along the way, presumably to be washed this way and that by the prevailing currents. As we spoke Anie’s poem became a lament for a Chinese culture that she has never known and conversely an Australian culture that to her remains elusive. Anie was born, on the road, to parents who had already left China and who would take another 17 years to arrive in Australia where Anie assumed her nationality. Here, decades after arriving in Australia the poise of Anie’s installation speaks of China not so much as a culture lost but as a culture imagined. This is not the story of a migrant discovering and reclaiming an abandoned culture, it is a story of cultural invention. The idea that the scripted characters of Chinese language observe both the role of a symbol and of a picture seems to be carried into the graphic arrangement of this installation. It is as though there are two languages being spoken at one time. There is the Chinese story and another story of arrangement that functions as a kind of dance between the various elements of the installation. This is as much a language as the Chinese characters it incorporates. And one like Anie’s Chinese cultural heritage that is more a product of her imagination than it is of received or learnt conventions. There is a gentle touch at work here. One that celebrates the unique qualities of humble materials crafted in the simplest of fashions. Collectively, the serenity engendered by this installation delivers it far from the component elements of its construction and its location, on a street where the various cultures of Australia jostle for a voice. Beyond any cultural precepts this installation has the voice an artist. A most singular artist whose art may be best read as an addition to our culture rather than being the product of any particular culture. Tony Twigg 2024

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Collaborative project by Anie Nheu and Jan Fieldsend exploring emotions conveyed by the elements used in their assemblages of forms, objects and textures; and almost all works take the form of imaginary bodies with memories. Playbox a collaboration with Jan FieldsendInstallation of paintings, collage of found materials AIRSpace Project 1.8.2014-16.8.2014 The project arose to some extent in an impromptu fashion. This in effect characterises the nature of the work, and hence the title, Playbox. Both artists are drawn to the emotional content conveyed by the elements used in their assemblages of forms, objects and textures; and almost all works take the form of imaginary bodies with memories. In the act of attempting to put two distinct practices into one space, conversations arose not only about formal and spatial concerns but also about poly-culturalism and the ensuing flux that is within each individual, and of course in the wider world. Negotiation of space/place and the making of sense requires a great deal of imagination and an ability to accept really odd things being together. Odd, not in a pejorative sense but perhaps more evoking a gentle poignancy of things not being even, of unsettledness or even as an antidote to standardisation. In his respect it may be apt to observe that Nheu is more interested in eroded painted forms and how they inhabit the space assigned to them, and Fieldsend in the productive alliances of decoration, inimalism, hard-core nostalgia and nature. In this collaborative project with Fieldsend, Nheu was drawn to the thoughts of Mono-ha, a school of art in Japan active between 1968 and 1973, as a way to relate and understand Fieldsend's installations. Loosely translated as 'school of things', Mono-ha art is experienced as multi-sensorial. It uses ordinary objects such as rocks, steel, sticks and cotton with as little human intervention as possible, and often is ephemeral in nature. The focus is on the 'the things’ themselves and their interdependence through juxtaposition and placement.The elements are stripped of their obvious identity and then through the working process particular sensory qualities are amplified. Nheu has attempted to draw on these ideas to create abstract tactile forms made with painted plywood and moulded acrylic paint. In some instances these materials are used as themselves with their intrinsic characteristics laid bare, but often as much stand in as rich shadowy bodies, or perversely doubling as cavities. Anie Nheu, Jan Fieldsend 2014