“The installation’s title Transfigured Night alludes to Henry Lawson’s famous short story The Drover’s Wife (1892), which celebrates the stoicism of an outback woman who sits alone and awake all night, while her children sleep, waiting for a snake to emerge from a kitchen wall.” Kirsten Coelho “is asking us to see that what might, on first appearance, seem straightforward, even mundane, is not quite what it should be, but actually, miraculously, something altogether else,” comments Julie Ewington on the potter’s Transfigured Night installation at the Jam Factory, during the 2018 Adelaide Biennial of Australian Art.1 “I feel so fortunate to be included among the thirty invited artists,” says Coelho. “It has been a big shift for me and the largest installation of my work to date.”
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