Chism sees herself as a custodian of the natural environment. She recognizes the significance of place and our connections as individuals to both our local environment and the larger cosmos.
With academic qualifications in Theology, Chism's understanding of reality has evolved to become more aligned with the Advaita Vedanta tradition. Her personal experiences have lead to an appreciation for the great mystery of life, the preciousness of the present moment and the understanding that we are just a small expression of a greater consciousness.
Her influences include the works of Ramana Maharshi, Adyashanti and Eckhart Tolle amongst others. These influences inform her art practice which spans over four decades, evoking the liminal zones where questions are asked, objects appear and disappear, edges blur between realities, always inviting reflection on who we are and our purpose.
Chism’s eclectic approach to materials and processes, are determined, by the art project at hand. She understands that each art project has a unique voice and if we listen the creative process will unfold. Her artworks include ephemeral sculptures, assemblage, glass works that are imbued with ethereal qualities often juxtaposed with more permanent metal and wood structures.
Chism is often seen at her local beach collecting waste that appears on the shore, recycling this into both ephemeral and fixed works for natural sites and gallery environments.
Her selected 27 solo exhibitions, spanning 4 decades, demonstrate her versatility, command of mixed materials and understanding of many and various geographical site-specific locations across Australia.
Motivated to elevate and inspire, Chism's 24 commissioned public artworks also span diverse geographical site-specific locations in Australia. Engaging with local communities, Chism masterfully translates their voice into refined work that unites people with place. Chism has a command of materials, which ensures both a personal and meaningful aesthetic. She lives and works in Far North Queensland.
A recipient of a Creative Fellowship from Arts Queensland, in 2007 Chism launched ‘Waters' edge, creating environments’. This 3 year Environmental Art Project entailed Chism and invited artists responding to various sites at the waters edge across Queensland.
Along with her vast history as artist, Chism has established educational art programs in a number of Institutes and lectured in the Bachelor of Creative Arts at James Cook University in Cairns.
She continues to work from her studio at Oak Beach, south of Port Douglas on public and private commissions within Australia.
In 2018 Chism instigated Call of the Running Tide, a biennial ephemeral sculpture event to be held from 2019 in the Douglas shire in Far North Queensland where she lives. The inaugural event focuses on local and global environmental issues and involves the work of local and invited artists from within.email: firstname.lastname@example.org
Within the 16 years of my public art practice, I have completed 21 public artworks from concept design to installation within Australia. A large aspect of each public artwork has been the collaboration with various project management individuals and groups as well as Public Art Advisory Groups, representatives from local and state governments and people from private project management. While I have listed the individuals and management groups below, (from the most recent artworks backwards in time) I cannot convey the extraordinary wealth of expertise each of those relationships has contributed to the success of the projects.
Public Art is a complex area of art due to the regulatory requirement of art placed in the public domain. The public art process demands accountability to ensure the safety of the general public.
Through the course of my public art experiences I have developed steadfast professional relationships with fabricators and installers in several mediums including digital art glass, wood, stainless steel, aluminium and through various new processes such as those developed using ‘Pic Perf’ and printing on Vitrapanel.
I would like to thank the following individuals and organisations:
Daniel Hahn, Liquid Blu Architects, Kieren Sandersen, Sahn Cramer Arts and Culture Officers from City of Darwin, Danielle Vos, Architect, Adey Brecknock of Brecknock Consulting, Lee Mathers and Maree Santarossa of Jumbana Group, Marla Guppy of Guppy and Associates, Robyn Ryan, Senior Project Officer/ Capital Works Queensland Police Services, Beth Jackson, Director and Curator/ Artfully, Christine Murray, Senior Procurement Manager and Manager of Public Art Unit/ Queensland Project Services, Jenuarrie, Arts Development Officer/ Arts Queensland, Rae O'Connell from House of Rae, currently Executive Director of Guildhouse, Adelaide and finally Ruby Wingrove formerly Arts Officer Cairns Regional Council, currently a Creative Coordinator in Toowomba.
I owe my thanks to the following fabricators:
Arafura Fabrications, Darwin, Locker Group, Melbourne, Cooling Brothers Perth, Digiglass Melbourne, The Vitra Group, NSW, Combined Metal Fabrication group Townsville, Lyal Cotton, Cottonwoods Creations, Stephen Togher Bent and Curved Glass, Sydney, David Kelly and Seigfried Montage Graphix, Fleetwood Urban steel fabrication, Sydney, Stuart Cotton, Digiglass, Melbourne and Derek Dovey, Premier Sheet Metal, Cairns.
Other subcontactors include Dee Why Glass, Smartfix Sydney, Richard Joyce, Fleetwood Urban, Colin Hayes, Hayes and Swinburn Glass Installers, Cairns. Engineers Include: Peter Brooks from Wallbridge Gilbert Aztec, Darwin, Arup Engineering Consultants Cairns and Sydney, UDP Consulting Engineers Townsville.