Globally renowned fashion designer, Nixi Killick, chats to David and David about her vibrant, interactive Joy Generator: an enormous multi-sensory and tactile structure set within a colourful, otherworldly space.  It is literally flames of optimism, flames of elation, flames of joy.   Hear all about this installation and the magnificent effects it produces.  When did Nixi start this project and who assisted her.  All is revealed in this exciting episode, broadcast live from the JOY EXHIBITION at the Immigration Museum in Melbourne.

The JOY EXHIBITION runs until 29th August 2025 next year.

For more information and to book tickets, visit    https://www.museumsvictoria.com.au/immigrationmuseum/whats-on/joy

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Starting in the Arts industry some 40 years ago, Dawn started as Assistant Stage Manager for Touring Regional England. Progressing to the West End, she took on the role of Assistant Stage Manager for the first production of “Miss Saigon” in 1989. She joined an Australian touring company on a production of “Les Miserables” whilst in Hong Kong.

Dawn decided to move to Australia where she continued working in stage management. She worked as the Calling Stage Manager during the Opening Ceremony for the 2000 Sydney Olympic Games. After this role, Dawn became better known within the arts industry, enabling her to move into Company Management positions; mostly for commercial large scale musicals. She joined Global Creatures, an Australian based production company, as the General Manager for the recent production of the award winning musical “Moulin Rouge.”

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The MECCA x NGV Women in Design Commission is a major five-year series that, each year, invites an international female designer or architect to create new and significant work for the NGV Collection.

The first and only initiative of its kind in Australia, the Commission will create an annual platform for the presentation of topical, world-premiere works that amplify the contribution of female designers and architects in shaping our world.

Titled La ropa sucia se lava en casa (Dirty clothes are washed at home), 2022, the installation draws on the notion of clothing as a symbol of protection for the body and the associated labour of caring for garments as an act of self-care.

Central to the installation is a basin-like structure inspired by the Lavadero of Huichapan, a historical communal laundry located in the town of Huichapan, Hildalgo in Mexico. The construction of the lavadero dates back to the 18^th century and was built for the local community to access the natural spring water. The communal structure represents a bygone practice of laundering clothing in public spaces and the social bonds formed among communities through this act.

Symbolising the age-old and cross-cultural practice of washing clothes, the installation is draped with large patchwork quilts, each comprising textiles and clothing donated and sewn together by people in Berlin and Mexico City, who participated in workshops delivered by Tatiana Bilbao Estudio in the making of the work

Wall drawings depict communal laundries and washhouses from around the world and throughout history, creating a collective memory of the diverse social interactions that laundry spaces have enabled in societies, where the associated labour often goes unrecognised.

The commission is a physical expression of Bilbao’s aim to free architecture from the conventions of the 20^th century and to propose a new trajectory that is focused on community, sustainability and ethics.

Regarded as one of Mexico’s leading architects working today, Bilbao founded Tatiana Bilbao Estudio in Mexico City in 2004 with the aim of conducting architectural design work from a position of social and ecological responsibility. Her work is known for challenging historical conventions, often rearticulating spaces so that they are more people-orientated and inclusive.

Tatiana Bilbao said: ‘I am deeply honoured and grateful to have been chosen for the Women in Design Commission by the NGV and MECCA. The Commission is contributing, in many ways, to advance the discourse of the importance of opening channels for people who have been left out of opportunities.’ 

Tony Ellwood AM, Director, NGV, said: ‘The ongoing Women in Design Commission will highlight the ground-breaking work of women in this field from Australia and around the world, as well as strengthening the NGV Collection for future generations. We are grateful to MECCA for their visionary support of this Australian-first initiative and commend their continued mission to elevate and empower women in the creative industries.

‘Tatiana Bilbao’s is a compelling voice from outside of the traditional canon of architecture, offering a unique perspective on both its history and its future. A woman from North America, an advocate, and a spokesperson for change, Bilbao creates work that is as intellectually rigorous as it is visually dynamic,’ said Ellwood.

The MECCA x NGV Women in Design commission series is enabled by a significant contribution from MECCA Brands through its social change program, M-POWER, which champions equality and opportunity for women and girls. This is MECCA’s single largest commitment to an Australian cultural institution and exponentially expands the NGV’s longstanding partnership with the brand.

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Two brilliant minds come together for the Venus Virgin Tomarz photographic exhibition showing this
May in Melbourne’s, CBD. Combining the electrifying conceptual photography of Robert
Earp and the ‘surreal realness’ of Venus Virgin Tomarz. This is an exhibition that goes
beyond gender to a meeting of minds and worlds. The exhibition is named after Earp’s
‘divalicious’ collaborator and muse whilst the work explores the journey of gender and
transition between worlds.
The true story of Venus Virgin Tomarz is told in hyper-colourful composite photographs
that recall the sci-fi kitsch of yesteryear. “Venus’s idea of taking 1960s sci-fi as the metaphor
of her story of transgender, I just thought that was brilliant,” said Robert Earp, Photomaker.
“I’ve always loved the magician’s trick where you’re at a magic show and there is a woman
floating […] you know in your head there are strings attached but you still feel as though she
is really floating. In this work I have conceptualised Venus as my floating muse”.
In Earp’s images, entire galaxies and epic encounters have been created in minute detail,
using everyday household items as the building blocks; the stars are bicarbonate soda;

chalk dust becomes star dust; the moon a swirl of poured beer while a Kitchenaid blender
whips up tornadoes and alien flesh is created from fish in Earp’s own tank.
Earp came to acclaim early on in his career with an exhibition at the National Gallery of
Victoria with only his third roll of film. Fast forward and he was quickly embraced by the
commercial and fashion world making his name as a ‘maker’ of photographs, turning
concepts into art.
For Venus this was a meeting of minds “This art extravaganza is an astounding collaboration
between myself and Photomaker, Robert Earp” said Venus “who believed in the idea and
these important art dimensions for the globe. I have pure respect for the understanding, the
beauty and passion for detail of this production team of professionals.”
In this exhibition, nothing is as it appears and the piece poses profound questions around
perception, ideology, society and the future. Where are we going and how are we getting
there? Will we be able to accept each other in whatever guise we appear?
“Behind it all, the narrative is about equality, really,” says Earp. “It’s also about that fight between
Venus and Mars in the classic sense from literature – you know, men are from Mars and women
are from Venus. That fight is in everybody.”

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