Established in 2017, the Clothing Store Artist Studio Program provides artists working at the forefront of contemporary practice with studio space in the heart of North Eveleigh. In 2024, for the first time since the program began, artist studio rent is fully subsidised.

The 2024 Clothing Store Artists are:

Akil Ahamat
Denis Beaubois
Jasmine Miikika Craciun
Helen Grace
Newell Harry
Alana Hunt
Victoria Hunt
Joel Sherwood Spring (not pictured)
EJ Son
Shireen Taweel

The Clothing Store Artist Studios are generously supported via the Carriageworks Collective giving program and Major Partner Bloomberg Philanthropies.

The Clothing Store Artists, Carriageworks, Image Jacquie Manning 2024

The 2024 Clothing Store Artists

Akil Ahamat, The Clothing Store Studio Artist, Carriageworks 2024, image by Jacquie Manning
Akil Ahamat  is a Sri Lankan Malay artist, filmmaker and arts worker currently based on Gadigal Land. Ahamat works across video, sound, performance, installation and games to consider the physical and social isolation of online experience and its effects in configuring contemporary subjectivity. Driven particularly by their research into the use of ASMR as a self-administered therapeutic tool in online spaces, Ahamat translates its restorative effects into affecting intimate audio experiences in the public space of the gallery.  
Denis Beaubois, The Clothing Store Studio Artist, Carriageworks 2024, image by Jacquie Manning
Denis Beaubois  was born in Mauritius and is based in Australia. He was a member of performance ensemble Gravity Feed as well as the Post Arrivalists and has performed with Japanese company Gekidan Kaitaisha in The Drifting View X in Tokyo. His works have been exhibited internationally including Tate Modern, London; San Francisco Museum of Modern Art; Museum of Contemporary Art Cleveland; Museum of Contemporary Art Australia (MCA), Sydney; and Museum of Contemporary Art Taipei. He has received numerous awards for his works most notably winning the VIDEONALE.8 (1998), Bonn and receiving the Judges special prize for the Internationaler Medien Kunst Preis, ZKM Karlsruhe (2001). He was also the recipient of the Create NSW and MCA 2019 NSW Visual Arts Mid-Career/Established Fellow. 
Jasmine Miikika Cracium, The Clothing Store Studio Artist. Carriageworks 2024, image by Jacquie Manning
Jasmine Miikika Craciun's  practice sits between mediums, experimenting with digital illustration, murals, textiles, sculpture and installation. Rooted in her diverse familial background encompassing Barkindji, Malyangapa, Romanian and Austrian identity, Jasmine celebrates ancestral resilience. As both an Aboriginal woman and second generation 'Australian’ she navigates the complexities of identity with an artistic vision that transcends a single artistic medium. Central themes of place and home echo narratives of displacement, illustrating the impact on her identity, and inviting viewers to contemplate the intricate dance between personal narratives and broader historical contexts. 
Helen Grace, The Clothing Store Studio Artist, Carriageworks 2024, image by Jacquie Manning
Helen Grace  is an artist, writer and teacher who was born on Gunditjmara Country. She works with still and moving images and the archive as a living organism. Her work is in the collections of Art Gallery of New South Wales, Sydney; Artbank; National Gallery of Australia, Canberra; and Art Gallery of South Australia, Adelaide. Her books include Culture, Aesthetics and Affect in Ubiquitous Media: The Prosaic Image (Routledge, 2014) and Technovisuality: Cultural Re-enchantment and the Experience of Technology (I.B. Tauris, 2016, co-edited with Amy Chan Kit-Tze and Wong Kin Yuen). 
Newell Harry, The Clothing Store, Carriageworks 2024, Image Jacquie Manning
Newell Harry  is an Australian-born artist of South African and Mauritian descent, whose projects for the past 15 years have explored an intimate web of personal connections and histories spanning Oceania and the wider Indo-Pacific, to South Africa’s Western Cape Province where his extended family continue to reside. Recent exhibitions include Esperanto, Murray Art Museum Albury, NSW (2023); Remedios: where new land might grow, Centro de Creación Contemporánea de Andalucía C3A, Spain (2023); and the 17th Istanbul Biennial, Turkey (2022). Newell is an avowed ailurophile, jazz nut, cricket tragic, retired rockhopper and ill-disciplined lay Buddhist. He lectures at Sydney College of the Arts, University of Sydney. 
Alana Hunt, Clothing Store Studio Artists, Carriageworks 2024, image by Jacquie Manning
Alana Hunt  makes art and writes, finding ways for this material to move affectively through the public sphere and the social space between people. She has worked with journalists, filmmakers, human rights defenders and lawyers on works that unfold over many years, with gradual yet accumulating resonance. The iterative memorial Cups of nun chai (2010-20) was serialised in 86 editions of Kashmir Reader (2016–17). In late 2023, Hunt completed Surveilling a Crime Scene (2023) a film that examines the materialisation of non-indigenous life on Miriwoong Country in the town of Kununurra and its surrounds. Hunt has exhibited nationally and internationally and is the recipient of a number of awards, most recently the 2023 STILL: National Still Life Award judged by Max Delany at Yarrila Arts and Museum, Coffs Harbour. 
Victoria standing in front of a brick wall
Victoria Hunt  was born on unceded Kombumerri Country, Surfers Paradise and currently lives on Bidjigal Country, Sydney. Her ancestral affiliations are Te Arawa, Rongowhaakata, Kahungunu Māori, Irish, English, Finnish. She works across the visual and performing arts as a dancer, director, choreographer, dramaturg, photographer, and filmmaker. Hunt’s work delves into Indigenous epistemologies within diasporic concepts of identity formation and belonging. Her work is liminal and reinstates the power of Indigenous creativity within the politics of Rematriation by inserting the body into frameworks of power for future ancestors. Central to this practice is Whakapapa (kinship/transdimensional), Atua Wahine (sacred feminine principle), Body Weather and IndigiQueer revitalisation within creation practices. Her work is a gradual binding of intimate collaboration between artists, Elders and communities. 
Joel Sherwood Spring  is a Wiradjuri anti-disciplinary artist, who works collaboratively on projects that sit outside established notions of contemporary art and architecture. His work attempts to transfigure spatial dynamics of power through discourse, pedagogies, art, design and architectural practice. It is focused on examining the contested narratives of Australia’s urban cultural and Indigenous history in the face of ongoing colonisation. His research driven installations and screen-based works have been exhibited in national institutions including Australian Centre for the Moving Image (ACMI), Melbourne; Ian Potter Museum of Art, University of Melbourne; West Space, Melbourne and Institute of Modern Art (IMA), Brisbane. In 2022, he was commissioned as part of the 4th National Indigenous Art Triennial at the National Gallery of Australia, Canberra. Recently, he was awarded the 2023 Churchie Emerging Art Prize for his work DIGGERMODE (2022) and presented the solo exhibition objects testify(2023) at UTS Gallery, University of Technology Sydney.   
EJ standing in front of a brick wall with their arms crossed
EJ Son  is a multi-disciplinary artist, working across new media, sculptural installations, video and ceramics. They focus on provocation and humour as a device to interrogate the complexity of power in the construction of gender, sexuality and race. Son’s practice is often paradoxical, arousing the tension created by our subconscious tendencies towards binaries; they aim to deconstruct and create space for new feelings to be considered. 
Shireen standing in front of a brick wall, wearing a lavender blazer and white button down shirt
Shireen Taweel  is an artist working on Gadigal Land. Taweel’s practice is speculative and multidisciplinary, establishing questions, possibilities and futures around the construction of community and cultural histories, and colonised and decolonised collections of movement. Taweel focuses on the construction of the sacred within future cultural landscapes, and the cross cultures of community, science and beliefs connecting humans to non-living and living objects within the passages of present and future migration. Employing copper artisan techniques, film and sound composition, Taweel works within a space of shared histories and fluid community identities.