1. Tony Twigg | Pages

SLOT came about shortly after I brought exhibitions of paintings by three Filipino artists to the Ray Hughes Gallery in Sydney; Charlie Co, a social realist painter and two abstractionists, Gus Albor and Roberto Robles all friends and colleagues of mine in Manila. There were two simultaneous exhibitions a solo show works by Charlie Co and a group show featuring Gus, Roberto and myself. I imagined that next I would need a gallery to go on showing Filipino art in Sydney. An impossible dream, until I realised that I had a gallery already, the front window of my studio, a shop at 38 Botany Road, Alexandria.

 I began the exhibitions in SLOT, with a show of my drawings October 2003. The ambition was to share the art of our neighbourhood with the people passing in the street. We looked to SLOT’s immediate neighbourhood and our regional neighbourhood, South East Asia.
Since then, I have maintained SLOT with the help of co-workers and guest curators, Alex Bellemore, Victoria Demafeliz, Gina Fairley, Leah Haynes, Pat   Hoffie, Glenn Locklee, Mai Nguyen-Long, Ian Milliss, Constantine Nicholas, Emma Smith, Richard Stride, Lloyd Suttor and Chloe Wolifson.  In 2015 Anie Nheu joined SLOT as collaborator and it is her contribution that permits the project to go forward.
Above all recognition must be given to the many artists who have selflessly offered their art to anyone who cares to look as they pass on their way from one place to another, the people Henry Lawson described as – “the faces in the street.”

Tony Twigg 

Catriona Stanton has been making art since the early 1990’s and in recent years she has been living in remote Australia. First for 2 years in Alice Springs and then in Balgo, Western Australia where she learnt their woman’s weaving techniques, she commented -   “The impetus for the pieces in All strung up was glimpsing an emu feather bound tobacco pouch pulled out of the folds of an old Nampitijns skirt in the remote community of Balgo. This small pouch invoked the hidden dimensions of the culture, which endures with a curious resilient tenacity. This fleeting site prompted a series of woven grass vessels, which are a talisman of something hidden, something unknown, and something secret.”