I & R16 Myths & Facts13 (story) Loading...12 Fayen d'Evie12 Video12 Crisis10 Text10 Reproductions9 Improvements8 Listening8 Sound8 Poetry7 Memory7 Photography7 Favourable Conditions7 Performing the Archive6 Sculpture6 Points of Connection6 Environment6 a border can have no boundaries6 Fandom5 Sincerely Yours5 Casual-Paradise5 Painting5 to listen, not to preserve5 Installation5 writing4 Language4 Archives4 The Anti-Shock Doctrine4 interview4 Labour3 House of Mother Tongue, House of Other Tongue3 Artist Walks3 Record3 Performance3 Augury – The diary of birds3 Pandemic3 Precarity2 Textile2 read2 music2 Paradise2 Gentrification2 Community2 Essay2 fiction2 WS × Social Studio2 listen2 Productivity1 Description1 Angna Mein1 watch1 Anna Dunnill | Processing Plant1 vampires1 Translation1 augury1 The Region1 choreography1 TERRA: Memory & Soil1 Improvisation1 talking1 Surprised face; Heart eyes1 movement1 documentation1 dust1 Sex1 interpretation1 scores1 exhibition1 Politics1 spoken word1
I & R16 Myths & Facts13 (story) Loading...12 Fayen d'Evie12 Video12 Crisis10 Text10 Reproductions9 Improvements8 Listening8 Sound8 Poetry7 Memory7 Photography7 Favourable Conditions7 Performing the Archive6 Sculpture6 Points of Connection6 Environment6 a border can have no boundaries6 Fandom5 Sincerely Yours5 Casual-Paradise5 Painting5 to listen, not to preserve5 Installation5 writing4 Language4 Archives4 The Anti-Shock Doctrine4 interview4 Labour3 House of Mother Tongue, House of Other Tongue3 Artist Walks3 Record3 Performance3 Augury – The diary of birds3 Pandemic3 Precarity2 Textile2 read2 music2 Paradise2 Gentrification2 Community2 Essay2 fiction2 WS × Social Studio2 listen2 Productivity1 Description1 Angna Mein1 watch1 Anna Dunnill | Processing Plant1 vampires1 Translation1 augury1 The Region1 choreography1 TERRA: Memory & Soil1 Improvisation1 talking1 Surprised face; Heart eyes1 movement1 documentation1 dust1 Sex1 interpretation1 scores1 exhibition1 Politics1 spoken word1
Anna Louise Richardson & Rebecca Dagnall
“Interview series | Strangely Enough”
Rebecca Dagnall, 'Odin, Huginn and Muninn taking him to Valhalla'. 2021, Archival pigment print, 80cm x 80cm. Courtesy of the artist

‘Strangely Enough’ forms part of a collection of writing and recorded conversations that describe experiences of preternatural communication with the natural world. These stories delve into those moments when contiguous worlds overlap, and the trauma of loss reconnects us to the world outside in new and unexpected ways.

This conversation between Anna Louise Richardson and Rebecca Dagnall is part of an interview series accompanying the collaborative exhibition ‘Watching’, by Anna and her husband Abdul-Rahman Abdullah at West Space.

Rebecca Dagnall graduated from Curtain University in 2003 with Honours, and held her first solo exhibition in 2009 at Turner Galleries in Perth, Western Australia. She has since been invited to show around Australia and internationally. Highlights from many group exhibitions include ‘Imagining the Everyday’, an exhibition of Australian photographers’ work’, curated by Alasdair Foster in 2010 in China, and the touring exhibition ‘Testing Ground’, curated by Julie Gough in 2013. Her work has been exhibited at Australia’s most prestigious public photography galleries including major solo exhibitions from 2010-2013 at the Australian Centre for Photography, the Monash Gallery of Art, Queensland Centre for Photography and in 2018 at the Perth Centre for Photography. In recent years Rebecca’s work has been included in photography festivals such as Foto Freo, the Lodz Fotofestiwal in Poland and the Pingyao Photographic Festival in China. In 2018 Rebecca completed a PhD at RMIT University. Rebecca’s new series will be shown at WA Art Collective later in the year. Rebecca’s work is represented in several collections, including the Art Gallery of Western Australia, the Cities of; Victoria Park, Stirling, Joondalup the Royal Perth Hospital and the Town of East Fremantle collections.

Anna Louise Richardson is an artist and freelance curator investigating rural Australian identity and associated mythologies. Richardson works primarily in charcoal and graphite on cement fibreboard, using a realistic approach, flattened perspective, cut-out shapes and manipulated scale to amplify the subject matter. Her artistic practice reveals ideas of intergenerational exchange, parenthood and signifiers of identity based on her experiences of life in rural Australia living and working on a multi-generation beef cattle farm. The complexities of human relationships with the natural world and the intergenerational qualities of these relationships are driving themes throughout her practice. Richardson’s work depicts animals as a recurring motif to examine shared values on the role of animals in culture, commerce and ecology and how these are shaped through different narratives.

Augury – The diary of birds3