It Comes in Waves is an intergenerational conversation series featuring discussions between early career artists and writers and some of the longest-standing members of the Women’s Art Register.

Developed in response to the Covid-19 pandemic, this series engages women and non-binary artists and arts professionals to address themes including trauma, care community and identity. These conversations act as an opportunity for knowledge sharing, critical discussion and intergenerational support.

It Comes in Waves highlights the range of ways that artists are impacted by the current crisis including how their practices have been recontextualised by restrained social conditions. Drawing on the combined knowledge of elder and emerging members of the arts community, the series proposes speculative modes for sustaining creative communities.

Part one will feature conversations between Manisha Anjali and Meredith Rogers, Alex Cuffe and Merren Ricketson, and Georgia Banks and Juliette Peers.

Curated and hosted by Katie Ryan, It Comes in Waves is available as an audio file and downloadable pdf transcript. This project has been supported by a City of Yarra Covid-19 quick response grant. Many thanks to Andrew Bennet for the music sound production for this series.

A note on the title:
The title It Comes in Waves alludes to waves of emotion, waves of the pandemic and sound waves, through which our voices travel. It also evokes the widely critiqued wave metaphor which has been employed in feminist theory. The wave metaphor is considered to break feminist movements into monolithic waves of revolution while erasing the work occurring between and at the sidelines of these popular movements. In the context of this conversation series, which aims to create intergenerational connections, the wave is proposed not as divisive metaphor but as a variance within interconnected material. An expanse of water, in which all bodies engaged in the practice of feminism might find commonality.

Katie Ryan is a visual artist and arts facilitator based in Naarm/Melbourne. Born in Ireland, she has been living and working in Australia, since 2013. Her work is concerned with modes of understanding, looking in particular at the connection between language-based cognition and embodiment. Katie is a current committee member at Kings Artist-Run and The Women’s Art Register. Her recent projects include, ‘A message in the collar’ a group exhibition developed in collaboration with Jeremy Eaton as part of HoBiennale 2019 and ‘Dissecting a violin body’, a solo exhibition of sculptural works at Bus Projects in Collingwood. She completed a Bachelor of Fine Art with Honours at The Victorian College of the Arts in 2017.

Episode One: Manisha Anjali and Meredith Rogers

Manisha Anjali is a writer and artist working across text and performance. Her practice is rooted in the language of dreams and exile. Manisha is the author of Electric Lotus (Incendium Radical Library Press, 2019). She has been a recipient of BLINDSIDE’s Regional Arts & Research Residency, a Writer-in-Residence at Incendium Radical Library and a Hot Desk Fellow at The Wheeler Centre. Manisha is the producer of Neptune, an archive of dreams, hallucinations and visions by the People of the World. She facilitates workshops on unconscious creative practice.

Meredith Rogers makes theatre and performance on different scales in conventional and out-there spaces, most recently as a member of the award-winning queer performance collective, Gold Satino. Other highlights have been: acting in Bagryana Popov’s Uncle Vanya over 5 seasons finishing in Hans Heysen’s house for the Adelaide Arts Festival in 2018, receiving the Ewa Czjawor award for a woman director (2003), co-founding the feminist theatre company, Home Cooking Theatre Co. in 1982, and playing Clytemnestra in The Oresteia at the Pram Factory in 1974. She worked at the Ewing and George Paton Galleries from 1974 to 1979 and in the editorial collective of Lip: A Feminist Arts Journal from 1976 to 1984.

Episode Two: Alex Cuffe and Merren Ricketson

Alex Cuffe describes herself as a ‘non-practising’ artist. She was born on the land of the Gadigal peoples of the Eora Nation (Sydney) and is currently based in Naarm (Melbourne). Her practice deals with disintegrating and reintegrating autobiographical material, unravelling story and context from emotionally haunted objects. Her outputs are often conversational, written or spoken, and she has an auxiliary interest in the production of music. Cuffe recently had her first solo show in six years at TCB Art Inc. This exhibition has been temporarily paused due the Melbourne coronavirus pandemic lockdowns. She is currently studying her masters in psychotherapy.

Merren Ricketson has worked as an arts facilitator and educator for 40 years including positions as a sessional teacher at the NGV, curating Top Arts and managing the VCE Season of Excellence, and working on the Gasworks Outdoor Sculpture Exhibition. Her involvement with the Women's Art Register began in the early 80s as a committee member and then coordinator, collaborating on the production and distribution of slide kits and information to schools. She was involved in facilitating The Women’s Dinner, celebrating the showing of Judy Chicago’s The Dinner Party in Melbourne. Concurrently, she established Artmoves with Helen Vivian and curated exhibitions at various venues including the Access Gallery at the NGV. Artmoves coordinated the groundbreaking show Completing the Picture: Women Artists and the Heidelberg Era, curated by Juliette Peers and Victoria Hammond. After leaving full-time work she studied Auslan. She currently works casually at the Victorian College for the Deaf, is a Board member of The Boite, and Education Liaison for upcoming exhibition Flesh after Fifty, changing images of older women in art.