.jpg)
Artist Run Initiatives (ARI's) like Peloton in Campbell Street, Surry Hills have existed in a plethora of forms since
they first evolved in the countercultural 1970’s. They are a DIY global phenomenon.
While the term ARI defies neat definitions and these spaces are constantly evolving
in nature, there are two traits all ARI’s have in common, they are run
mindfully by artists for artists and they collectively re-imagine the physical spaces they
use; be it a disused warehouse, apartment, office block, shop front, laneway or
an empty suitcase.
Since opening its doors in 2004 Peloton has supported the work of hundreds of artists, sadly Peloton is about to close. Peloton’s current directors Matthys Gerber, Lisa Jones, Francesca Heinz, and Adrian Gebers are hosting a final exhibition opening this Friday. Paul Andrew speaks to Director Adrian Gebers.
Since opening its doors in 2004 Peloton has supported the work of hundreds of artists, sadly Peloton is about to close. Peloton’s current directors Matthys Gerber, Lisa Jones, Francesca Heinz, and Adrian Gebers are hosting a final exhibition opening this Friday. Paul Andrew speaks to Director Adrian Gebers.
Peloton - Adrian how did the name of the gallery come about? The idea of a group of cyclists hanging together on the road in a cluster where there is less drag and easier on the road perhaps?
The name is before my time so I can't answer
decisively. It's a good name, and it's been great that the name doesn't
give anything away. The gallery is an object defined by how it is used
rather than its name. There are certainly more similarities that can be
linked to it though.
When did Peloton
begin?
The gallery was started by Matthys Gerber and a
student Giles Ryder in 2004.
The gallery started at 19 Meagher Street after taking
over from Barry Keldoulis' gallery. Before that it was Blaugrau run by Lisa
Kelly and Alex Gawronski.
After a couple of years they were able to take over
another shopfront two doors down. In late 2011 there was a fire above the
gallery and the water used to extinguish the blaze flooded the gallery.
After being homeless for a while and doing a few
pop-up shows we found the new space on Campbell Street which we refurbished and
turned into what it is today.
I am seized
by the large poster on your office wall here, a list of the many artists who
have been supported by Peloton, it looks and reads like an honour roll?
The list of artists we've shown is something that
we're really proud of. To an extent it’s a snapshot of history, not just
for the names that one recognises, but for the names that many won't.
It's also great that we've been able to show
artists before they became famous and well as after achieving significant
recognition. There are artists who we've been able to foster, connections
that have been made and a community that was established, all through the
gallery.
The poster really sums up what we've been about -
that huge list of artists, without priority. I think the strength of the
gallery has been that diversity.
Sure there have been some outstanding exhibitions,
but what has been great is the ability to look back over an entire year and see
a spectrum of art and artists.
What sets
Peloton apart from other ARI’s?
I think we run an incredibly professional program
of invited artists from all over the world. We show both emerging and mid
career artists. As ARIs have become increasingly focussed on emerging
artists this point has become quite important. As funding became
available to the gallery the reduced the costs to exhibit and haven't charged
an artist for several years despite our costs increasing.
And
similar to other ARI’s?
The gallery is run by artists and we don't have as
much money as we'd like.
Peloton
supports emerging and established artist across the generations?
Peloton chooses its program based on the strength
of the exhibitions. Distinctions like emerging and mid-career artists are
there for funding bodies. We've been the platform for a discussion of ideas
between artists, young and old from all over the world.
The richness of that discussion is because of the
diversity of artists we've shown. There is a great community around the
gallery which means that young artists are introduced to more established
artists and vice versa.
However, there aren't enough opportunities for
mid-career artists to show in Sydney and we're happy to have provided a place
for that.
Australia has put a huge amount of importance on
emerging artists and forgotten about what comes after that. By way of
example, The Turner Prize in the UK is awarded to artists under 50 and
classifies them as young.
We have a skewed idea of what a young artist is
now. It takes years to develop a practice and artists need support all the way
through. I think what we're seeing now is a shift in collecting habits
too which further hurts mid-career artists.
Why start
an ARI in the first instance, it is about artists being incensed about the
commercial galleries 40 percent commissions, the irresponsiveness of contemporary
art spaces/ arts institutions/commercial galleries who are lacksidaisical when it comes
to presenting artistic and cultural diversity?
I like to think that every ARI has their own
reason, that you can have ARIs existing in opposition to commercial galleries,
institutions and even other ARI models. They are a little safety valve to
make sure things never get too bad and to keep the rest of the art world on its
toes.
Can you tell me a bit about this your penultimate exhibition?
At the moment we've have two exhibitions in the
gallery. Daniel Maudie Cunningham has a video of a performance called Take
My Breath Away. It reifies breath into the object of a balloon which
is shared between the two performers. It's a recreation of a performance
by Marina Abramovich and Ulay. The work itself straddles the line between
serious and humorous, intimacy and perversion.
Cherine Fahd uses the balloon as the focus for a
year-long meditation practice. Again using the balloon to manifest breath
into an object. The object then becomes the focus of the year-long
photography exercise with the great sculptural objects taking the focus of each
image.
And your
closing exhibition, GOOD NIGHT?
The final show is going to be a big group show of
all the artists that were included in our 2013 program that now won't get their
chance to show as well as various people closely connected to the gallery like
volunteers and previous directors. I think more importantly than the
exhibition we're trying to join our community together one last time and thank
everyone that's been involved over the years.
Adrian, Peloton is closing,
why?
We're closing for a number of reasons.
Despite putting in the grant application in the first half of the financial
year, the decisions are only announced in December, so we were left with three weeks
to find an alternative source of funding for 2013 or close the gallery. Three
weeks is not a long time and to get the kind of money that we would need (30k)
we would need more time.
Although there may have been the possibility of
sourcing a grant from somewhere else, there is no way any of the directors
could have been expected to sustain the gallery in the mean time. We
tried several times to appeal Arts NSW's decision but this was declined. Ultimately
they gave us a little money which will mean the directors are not out of pocket
in closing.
Charging artists to exhibit is something we're
against, and we did not see it as an option for 2013.
Peloton is against auctions as fundraisers.
We've tried our hardest to prioritise art and
artists. Giving artists the chance to exhibit for free and sometimes
being able to provide further financial assistance has been a matter of pride
for us.
Artists perform an incredibly important role in
society and it's great that we've been able to give something back. A
fundraiser would mean that again artists were bearing the burden or being taken
advantage of to support the program. There is more to be said on
Fundraisers, and while they can be effective, I think they have some serious
negative consequences too.
You recently
mentioned the difficulty in sustaining an ARI like Peloton?
I think what I was talking about was the importance
of longevity when it comes to ARIs or any institution. The current model
is generally providing annual funding with no guarantee of funding the year
after. The biggest costs for a gallery are in the first year - putting
down a bond for a space, setting up a gallery, buying equipment etc, not to
mention the logistical fact that most commercial leases are 3-5 years.
After the first year the costs will decrease, so
the funding bodies would get better value in their second year of funding an
organisation. So that's one reason why I'm all for lengthening funding
terms.
Another is the effect on history. Galleries
as they exist longer cement themselves institutionally. The benefits to
this far outweigh the downsides. The whole point of running these
galleries is to exhibit work and get people to see it, and this takes time.
Over time these galleries develop a conversation
and a context too, and they continue to serve an important function long after
they have closed.
Unfortunately this is not the case for galleries
that come and go. We ran Peloton under the assumption that we would get
funding for the following year, planning a program of events etc. It
allowed us to be more organised and staged more ambitious projects often
organising to get artists from overseas for example. You could not do
that efficiently on a smaller time scale.
I wonder if it’s
a leftover from the 1980’s that the term ARI’s still seems to somehow infer a short term prospect, a limited shelf life, at least to the funding
bodies and “establishment” arts institutions?
Perhaps historically this has been the case,
although it largely depends on how you define an ARI. Something like the
Contemporary Arts Society was started in 1937 and staged exhibitions of
members.
It still exists today perhaps having lost some of
its political clout. A lot of the 80's ARIs solely hinged on the one or
two people that ran them, N-Space, Q-Space, Inhibodress etc. The people
that run them are bound to suffer from burn out. The way to avoid this is
to set them up as institutions - First Draft's continually revolving board of
directors is a good example of this. However it means that although the
institution exists, it develops a personality of its own rather than that of
the directors.
Perhaps
it is time to reconsider what an ARI means today?
The history of ARIs in their various forms has been
reactionary. Artists were against what the standing institutions were
doing so they did it themselves. In this way I think the definition has changed
to fit the circumstances.
In a perfect world ARIs wouldn't exist because the
institutions would be doing an adequate job on their own. Funding ARIs is
almost an acknowledgement of this.
To be fair the institutions must include commercial
galleries and it's interesting to note that a couple of ARIs have managed to
turn themselves into commercial galleries recently.
I don't think it's anyone’s role to be defining
what an ARI means. The governmental organisations would have an interest
in defining this however because it allows them to protect the institutions
that ARIs are critical of.
It’s not
a new idea, but what truly happens is ARI’s provide vibrant ongoing programs-
on breadcrumbs- and that this creates a culture of complacency for the CAS
network; Artspace, IMA, ACCA and so on, and in turn an even greater complacency
for the big daddy’s like AGNSW, QAG, NGV and NGA who focus on blockbusters and
so on - what are your thoughts about this?
I think it functions the other way around. The
Contemporary Art Spaces were all started in the 70s and 80s because of the
perceived failings in the institutions and to an extent that comes across in
the names – Adelaide’s "Australian Experimental Art Foundation"
particularly pushing the point. They are almost ARIs turned
institutional.
A lot were started and directed by artists at first and
are now on triennial funding programs with boards that have less and less to do
with art and programs that are certainly more conservative than what they
opened with.
Interestingly, one of the criticisms Peloton received was
that our board was not diverse enough. It's made up of arts professionals
rather than doctors and investment bankers because we believe they are more
qualified to make decisions on behalf of the gallery, unfortunately they don't
bring with them an elite network of philanthropists.
I don't think the institutions are aware of their
complacency though, because there is often an overlapping in the roles that
each institution is performing.
How has Peloton
worked towards being self-sustaining?
We've never intended to be self-sustaining and have
been very grateful for the funding that has sustained us over the years.
That said, we've worked incredibly hard to consistently produce a program
of exhibitions that we are very proud of, in a professional manner on a very
limited budget.
Until now that voluntary had been enough to
consistently receive funding from one year to the next. No one involved in the
running of the gallery gets any money for their work, and wherever we can cut
costs we have while still maintaining a high level of professionalism.
It's always been about showing art and we've done
everything to further that. We've invested in creating good gallery
spaces close to the city where artists don't have to pay.
We didn't want to complicate it by commercialising
the space or the work or putting our already stretched resources onto managing
studios. That should have been enough.
Are sustainability
funds needed to help ARI’s become more sustainable?
Patronage is a huge problem in the arts in
Australia and really does need to be encouraged. I think that's a
cultural change though and will take generations to complete.
Again I would go back to the idea that we shouldn't
be looking to institutionalise ARIs and rather focus on addressing the bigger
issues that are causing all of the ARIs to exist.
That's a huge area to tackle and something I don't
think we can get into in this short interview. To answer your question
then - I think longer funding terms that allows galleries to plan a bit further
ahead would be good.
Creating the possibility for the longer term and
getting ARIs to think that way would create a bit of change.
I'm cautious about the idea of ARIs making money -
the risk is to slip into a government subsidised commercial gallery that would
more and more cater to the market rather than the artists.
I think Arts NSW and the Australia Council get
great value for money funding ARIs that it’s not something that needs to be
shifted to independence. They'd be better off using their resources to boost
audiences for ARIs through increased awareness, incorporation into school and
university curricula etc.
Seed
funding afforded to ARI's by funding bodies doesn't reflect the true climate of inner city (or
even regional centre) rentals, human resources, tech/equipment and so on, and
that in this reappraisal these things need to be addressed too, an audit perhaps,
the truth as it really is type audit?
I've said a few times in the last few years that we
should publish our budget online so that people can see the true costs going
on, and that wouldn't even include all of the in-kind that you see. Alas we
take what we can get.
It's a known fact, ARI’s help to create vibrant precincts, tell me about the ways in which you
feel Peloton has revitalised the precinct you are located in?
Chippendale really did change after the galleries
moved in. The list of Chippendale galleries is impressive -
Blaugrau, GBK, MOP, Serial Space, NG Gallery and now White Rabbit, McLeMoi and
the Commercial and those early galleries really are to be thanked for getting
people into the suburb and charging it with a bit of life. It's a story
that has been repeated countless times all over the world though.
We used to keep the door closed here in the beginning because it was
unsafe. By the end of it we had been out-priced and could no longer
afford to be there.
Do you
think city councils and funding bodies simply focus on short term
revivification and veer towards economic benefits as their bigger field of
vision - allow artists to move into forgotten dilapidated areas make them dance and sing
and inspire -these areas become gentrified real estate increases in price, the boom
happens and councils make loads of money in rates. Artists homeless again,
momentum lost. Gentrification in its most abject form perhaps?
I think it's expected that city councils would do
this, but you're right, what's unfortunate is the lack of a long term plan for
the artists.
Subsidising the rents impermanently to these areas
just exacerbates the problem because it reduces the time frames so much.
It's OK that councils use art as cultural capital, but it would be better
if art was seen as an integral part of society and helped to find a permanent
place in every community.
Councils could do that by forcing developers to
provide a certain percentage of housing to artists at cheaper rent similar to
the rent control of the Soho lofts.
The Pop-up shops that run for a few weeks or months
between developments are great and might help exposure, but a more genuine move
would be to create permanent spaces for this to happen that could include
artist studios etc.
What's
next, will Peloton regroup, reopen?
I think we all need a break but I'm sure something
else will come about eventually. Francesca Heinz has been able to secure
a venue for her Performance Month so that will at least continue in the mean
while.
For artists passionate
about starting an ARI, what should they be mindful of?
I wouldn't want to discourage anyone from pursuing
it so I won't say much - just know why you're doing it. Australia has an
incredible history of ARIs which you'll become a part of, it's something good
to be mindful of because you don't want that history to be lost.
What is most satisfying to
you about your work at Peloton over the years?
Opening up the new space on Campbell Street was
really rewarding after what had been an incredibly hard few months. I've
also been really touched by the things people have been saying since we
announced the closure of the gallery.
The artists that I've met and worked with. The
community that I've become a part of.
GOODNIGHT
8-10 March 2013
opening 6pm
Friday 8 March
GOODNIGHT
8-10 March 2013
opening 6pm
Friday 8 March
PELOTON 2004-2013
A.D.S. Donaldson, Adam Norton, Adrian Gebers, Alan Johnston, Albert Chan, Alex Gawronski, Alex Lawler, Alex Martinis Roe, Alex Pearl, Alex Powell, Alex Pye, Alexandra Clapham , Alison McGregor, Alyson Howland, Amy Towers, Anahita Razmi, Andre Hemer, Andreas Reiter Raabe, Andrew Newman, Andy Hutson, Anita Fricek, Anke Stäcker, Ann Brennan, Anna Finlayson, Anna Kristensen, Annabel Dover, Anne Zahalka, Anne-Marie May, Anselm Reyle, Anthony Farrell, Anton Pulvirenti, Aoife Milson, Athena Politis, Barry Lewis, Ben de Nardi, Ben Terakes, Biljana Jancic, Billy Gruner, Bob Levene, Bonita Bub, Boyd Turner, Bronia Iwanczak, Brooke Wagstaff, Bruce Barber, Callum Cooper, Carla Cescon, Carla Liesch, Cate Elwes, Charlene Davis, Cherine Fahd, Chris Bennie, Chris LG Hill, Chris Meigh-Andrews, Chris Paul Daniels, Chrissie Ianssen, Christian Edwardes, Christie Sciberras , Christoper Dean, Christopher Dalhausen, Christopher Hanrahan, Claire Morales, Claire Taylor, Clare Milledge, Clint Enns, Craig Easton, Dan Argyle, Dan Levenson, Dani Marti, Daniel Gottin, Daniel Mudie Cunningham, Daniela Butsch, Danny Lacy, Dave Griffiths, David Burrows, David Kefford, David Lawrey, David M Thomas, Derek Allan, Derek Kreckler, Donna West Brett, Douglas Kean, Drew Collett, EGGVEIN, Eleanor Avery, Eleni Xintaras, Elisa Trufanoski, Elizabeth Day, Elizabeth Hobbs, Elizabeth Nagy, Elizabeth Pulie, Elke Varga, Eloise Kirk, Emily Keys, Emily Richardson, Emma Davidson, Emma White, Erica Scourti, Ernesto Burgos, Estelle Ihasz, Esther Johnson, Eugenie Lee, Eva Rudlinger, Ex-Trendy , Fil Ieropoulos, Fiona Kemp, Flora van der Ree, Francesca Heinz, Francesca Mataraga, Gabriella Mangana, Gail Kenning, Gary Peploe, Gary Warner, Geoff Kleem, Geoff Newton, George Pizer, Georgia Kaw, Gernot Bubenik, Giles Ryder, Glenn Maltby, Gordon Dawson, Grace Turtle, Greer Rochford, Greg Fullerton, Guido Munch, Guy Sherwin, Hamish Carr, Hany Armanious, Heath Newman, Heidi Linck, Heidi Nowak, Herbert Brandl, Hollington & Kyprianou, Howard Arkley, Huseyin Sami, Iakovos Amperidis, Ingrid van der Aa, Iris Zogel, Jacob Cartwright, Jacobus Capone, Jacquelene Drinkall, Jai McKenzie, Jaki Middleton, James Avery, James R Ford, James Snazell, Jan Kammerling, Jan van der Ploeg, Jan Williamson, Janet Burchill, Janicke Reksten, Jasmin Vrachas, Jennifer Mccamley, Jennifer Ross, Jenny Watson, Jeremy Kibel, Jess Johnson, Jessica Evans, Jim Shirlaw, Jodie Wiggins, John Aslandis, John Bloomfield, John Butt, John Cussans, John Nixon, John Turier, Johnathan Moss, Jonny Niesche, Jordan Marani, Jordon Spedding, Judith Duquemin, Julia Davis, Julia Gorman, Julia Rochford, Julie Fragar, Julie Harris, Justene Williams, Justin Stephens, Kate Jessop, Kate Scardifield, Kate Williams, Katherine Meynell, Kathy Temin, Kayla Parker, Kenzie McKenzie, Kerry Baldry, Kevin Platt, Koji Ryui, Kristi Arnold, Kusum Normoyle, Kyle Jenkins, Lars Breuer, Laure Prouvost, Lauren Brincat, Leah McPherson, Leahlani Johnson, Leister/Harris, Lesley Dumbrell, Leyla Stevens, Liam Garstang, Liam Wells, Lily Hibberd, Linda Brancato, Lisa Andrew, Lisa Jones, Lorna Grear, Louisa Minkin, Louise Palmer, Luis Nobre, Luke McMaster, Luke Strevens, Lumiere et Son, Mahalya Middlemist, Man Bartlett, Manya Ginori, Marie Le Lievre, Marita Fraser, Mark Brown, Mark Siebert, Mark Titmarsh, Mark Wigan, Marni Shindelman, Martin Pickles, Marty St.James, Masato Takasaka, Matt Hinkley, Matte Rochford, Matthew Deleget, Matthew Leslie, Matthew Lysaught, Matthew Rowe, Matthys Gerber, Max Holdaway, Melissa Laing, Meredith Frances Lynch, Meredith Turnbull, Merric Brettle, Michael Cousin, Michael Szpakowski, Michelle Zarro, Mikala Dwyer, Miranda Parkes, Mireille Astore, Mitch Cairns, Mona Ryder, Nadine Christensen, Nana Ohnesorge, Nate Larson , Neil Tomkins, Nicholas Folland, Nicholas Hardy Clements, Nick Herbert, Nick Jordan, Nick Mangan, Nicki Rolls, Nigel Milsom, Nina Ross, Nuha Saad, Nynke Deinema, Ola Vasiljeva, Oscar Yanez, Paul Cullen, Pauline Plumb, Paulo Menezes, Penelope Benton, Peter Barnes, Peter Burgess, Phil Williams, Philip Sanderson, Phillip Warnell, Phillipa Veitch, R. O., Rachel Scott, Renee Cosgrave, Reuben Paterson, Riccardo Iacono, Richard Dunn, Richard Glover, Richard Kean, Richard Tuohy, Rishin Singh, Rob McHaffie, Robin Hungerford, Rochelle D’Sa, Rohan Wilson, Rolande Souliere, Ron Adams, Ron Diorio, Rose Butler, Rosita Holmes, Ross Sinclair, Rowan Conroy, Ruark Lewis, Sach Catts, Salvatore Pannateri, Saffron Hewey, Sam Renseiw, Samantha Clark, Samuel Moffat, Sangeeta Sandrasegar, Sara Givins, Sara Shera, Sarah Goffman, Sarah Napier, Schleimgurgeln, Scott Miles, Sebastian Freytag, Shane Eastwood, Shane Haseman, Shaun Morrow, Shaun o’Connor, Silvana Mangana, Simon Hollington, Simon Ogden, Simon Payne, Sophia Egarchos, Stephanie Curtin, Stephanie Quirk, Stephen Hodge, Steven Asquith, Steven Ball, Street Talk, Stuart Bailey, Stuart Moore, Stuart Pound, Sue Pedley, Susan Buchanan, Tamara Mendels, Tansy Spinks, Terry Burrows, Terry Ricardo, Teunis van Zanten, The Destructors, Thomas Loveday, Tilman, Tim Shultz, Tina Keane, Tom Glenn, Toni Warburton, Tony Hill, Torben Giehler, Tracey Clement, Travis McMicking, Trevor Fry, Trevor Richards, Trish Hickey, Vicky Browne, Vicky Wilkes, Vilma Bader, Virginia Hilyard, Viv Miller, Warren Taylor, Will Cooke, Will French, Wrongsolo, Yasmin Smith, Yvonne Boag, Zhel Vukicevic, Zoe Robertson
& more
Peloton is assisted by the NSW Government through Arts NSW
.jpeg)
A.D.S. Donaldson, Adam Norton, Adrian Gebers, Alan Johnston, Albert Chan, Alex Gawronski, Alex Lawler, Alex Martinis Roe, Alex Pearl, Alex Powell, Alex Pye, Alexandra Clapham , Alison McGregor, Alyson Howland, Amy Towers, Anahita Razmi, Andre Hemer, Andreas Reiter Raabe, Andrew Newman, Andy Hutson, Anita Fricek, Anke Stäcker, Ann Brennan, Anna Finlayson, Anna Kristensen, Annabel Dover, Anne Zahalka, Anne-Marie May, Anselm Reyle, Anthony Farrell, Anton Pulvirenti, Aoife Milson, Athena Politis, Barry Lewis, Ben de Nardi, Ben Terakes, Biljana Jancic, Billy Gruner, Bob Levene, Bonita Bub, Boyd Turner, Bronia Iwanczak, Brooke Wagstaff, Bruce Barber, Callum Cooper, Carla Cescon, Carla Liesch, Cate Elwes, Charlene Davis, Cherine Fahd, Chris Bennie, Chris LG Hill, Chris Meigh-Andrews, Chris Paul Daniels, Chrissie Ianssen, Christian Edwardes, Christie Sciberras , Christoper Dean, Christopher Dalhausen, Christopher Hanrahan, Claire Morales, Claire Taylor, Clare Milledge, Clint Enns, Craig Easton, Dan Argyle, Dan Levenson, Dani Marti, Daniel Gottin, Daniel Mudie Cunningham, Daniela Butsch, Danny Lacy, Dave Griffiths, David Burrows, David Kefford, David Lawrey, David M Thomas, Derek Allan, Derek Kreckler, Donna West Brett, Douglas Kean, Drew Collett, EGGVEIN, Eleanor Avery, Eleni Xintaras, Elisa Trufanoski, Elizabeth Day, Elizabeth Hobbs, Elizabeth Nagy, Elizabeth Pulie, Elke Varga, Eloise Kirk, Emily Keys, Emily Richardson, Emma Davidson, Emma White, Erica Scourti, Ernesto Burgos, Estelle Ihasz, Esther Johnson, Eugenie Lee, Eva Rudlinger, Ex-Trendy , Fil Ieropoulos, Fiona Kemp, Flora van der Ree, Francesca Heinz, Francesca Mataraga, Gabriella Mangana, Gail Kenning, Gary Peploe, Gary Warner, Geoff Kleem, Geoff Newton, George Pizer, Georgia Kaw, Gernot Bubenik, Giles Ryder, Glenn Maltby, Gordon Dawson, Grace Turtle, Greer Rochford, Greg Fullerton, Guido Munch, Guy Sherwin, Hamish Carr, Hany Armanious, Heath Newman, Heidi Linck, Heidi Nowak, Herbert Brandl, Hollington & Kyprianou, Howard Arkley, Huseyin Sami, Iakovos Amperidis, Ingrid van der Aa, Iris Zogel, Jacob Cartwright, Jacobus Capone, Jacquelene Drinkall, Jai McKenzie, Jaki Middleton, James Avery, James R Ford, James Snazell, Jan Kammerling, Jan van der Ploeg, Jan Williamson, Janet Burchill, Janicke Reksten, Jasmin Vrachas, Jennifer Mccamley, Jennifer Ross, Jenny Watson, Jeremy Kibel, Jess Johnson, Jessica Evans, Jim Shirlaw, Jodie Wiggins, John Aslandis, John Bloomfield, John Butt, John Cussans, John Nixon, John Turier, Johnathan Moss, Jonny Niesche, Jordan Marani, Jordon Spedding, Judith Duquemin, Julia Davis, Julia Gorman, Julia Rochford, Julie Fragar, Julie Harris, Justene Williams, Justin Stephens, Kate Jessop, Kate Scardifield, Kate Williams, Katherine Meynell, Kathy Temin, Kayla Parker, Kenzie McKenzie, Kerry Baldry, Kevin Platt, Koji Ryui, Kristi Arnold, Kusum Normoyle, Kyle Jenkins, Lars Breuer, Laure Prouvost, Lauren Brincat, Leah McPherson, Leahlani Johnson, Leister/Harris, Lesley Dumbrell, Leyla Stevens, Liam Garstang, Liam Wells, Lily Hibberd, Linda Brancato, Lisa Andrew, Lisa Jones, Lorna Grear, Louisa Minkin, Louise Palmer, Luis Nobre, Luke McMaster, Luke Strevens, Lumiere et Son, Mahalya Middlemist, Man Bartlett, Manya Ginori, Marie Le Lievre, Marita Fraser, Mark Brown, Mark Siebert, Mark Titmarsh, Mark Wigan, Marni Shindelman, Martin Pickles, Marty St.James, Masato Takasaka, Matt Hinkley, Matte Rochford, Matthew Deleget, Matthew Leslie, Matthew Lysaught, Matthew Rowe, Matthys Gerber, Max Holdaway, Melissa Laing, Meredith Frances Lynch, Meredith Turnbull, Merric Brettle, Michael Cousin, Michael Szpakowski, Michelle Zarro, Mikala Dwyer, Miranda Parkes, Mireille Astore, Mitch Cairns, Mona Ryder, Nadine Christensen, Nana Ohnesorge, Nate Larson , Neil Tomkins, Nicholas Folland, Nicholas Hardy Clements, Nick Herbert, Nick Jordan, Nick Mangan, Nicki Rolls, Nigel Milsom, Nina Ross, Nuha Saad, Nynke Deinema, Ola Vasiljeva, Oscar Yanez, Paul Cullen, Pauline Plumb, Paulo Menezes, Penelope Benton, Peter Barnes, Peter Burgess, Phil Williams, Philip Sanderson, Phillip Warnell, Phillipa Veitch, R. O., Rachel Scott, Renee Cosgrave, Reuben Paterson, Riccardo Iacono, Richard Dunn, Richard Glover, Richard Kean, Richard Tuohy, Rishin Singh, Rob McHaffie, Robin Hungerford, Rochelle D’Sa, Rohan Wilson, Rolande Souliere, Ron Adams, Ron Diorio, Rose Butler, Rosita Holmes, Ross Sinclair, Rowan Conroy, Ruark Lewis, Sach Catts, Salvatore Pannateri, Saffron Hewey, Sam Renseiw, Samantha Clark, Samuel Moffat, Sangeeta Sandrasegar, Sara Givins, Sara Shera, Sarah Goffman, Sarah Napier, Schleimgurgeln, Scott Miles, Sebastian Freytag, Shane Eastwood, Shane Haseman, Shaun Morrow, Shaun o’Connor, Silvana Mangana, Simon Hollington, Simon Ogden, Simon Payne, Sophia Egarchos, Stephanie Curtin, Stephanie Quirk, Stephen Hodge, Steven Asquith, Steven Ball, Street Talk, Stuart Bailey, Stuart Moore, Stuart Pound, Sue Pedley, Susan Buchanan, Tamara Mendels, Tansy Spinks, Terry Burrows, Terry Ricardo, Teunis van Zanten, The Destructors, Thomas Loveday, Tilman, Tim Shultz, Tina Keane, Tom Glenn, Toni Warburton, Tony Hill, Torben Giehler, Tracey Clement, Travis McMicking, Trevor Fry, Trevor Richards, Trish Hickey, Vicky Browne, Vicky Wilkes, Vilma Bader, Virginia Hilyard, Viv Miller, Warren Taylor, Will Cooke, Will French, Wrongsolo, Yasmin Smith, Yvonne Boag, Zhel Vukicevic, Zoe Robertson
& more
Peloton is assisted by the NSW Government through Arts NSW
.jpeg)