Individuals and Groups 2019-20

Amber Koroluk-Stephenson - $14 811 towards developing new painted and sculptural works for an interstate exhibition.

Anna Murchison - $12 513 towards creating a new literary work.

Anne Morgan - $12 500 towards the development of a novel called Felix Piper.

Benjamin Walter - $9 300 towards developing a practice of experimental nature writing.

Brigitte Wolfe - $7 904 towards establishing a sustainable Aboriginal design practice.

Cassandra Pybus - $16 650 towards producing a new work of creative non-fiction.

Craig Ashton - $9 900 towards creative development.

Donna Ritchie – $7 993 towards exhibition and skills development

Dugald McLaren - $16 675 towards the musical, Songs from Antarctica.

Emma Anglesey - $15 000 towards the single release and EP launch for Runaway Belles.

Evangelos Carydakis - $12 028 towards composing and producing original jazz album, Will I See You Again.

Fiona Levings - $10 411 towards the promotion and marketing of non-fiction picture book, Now and Then.

Jane Longhurst - $11 620 towards developing a trilogy of one woman performances.

Joseph Haley - $12 775 towards Psycroptic’s tour of Asia, India and the Middle East

Joshua Rowe - $10 134 towards producing a new animation.

Julie Waddington - $25 459 towards stage three of MENTAL - The Mother Load.

Justine Phillips - $20 000 towards Lost Rocks: fictiōnellas #24 – 40.

Keith Deverell - $5 100 towards a self-guided residency to produce new creative work

Luke Conroy - $1 110 towards a solo exhibition in Russia, News From Home.

Madeline Wells - $6 250 towards making the first episode of a series on the Tasmanian Aboriginal Community.

Neil Haddon and Megan Walch - $15 063 towards Hackable Animals.

Paul Snell - $11 914 towards a solo exhibition at the Australian Consulate in New York.

Sean Kelly - $8 911 towards an exhibition of work by the late Paul Boam.

Sofie Burgoyne - $16 368 towards Gestures of Care.

Stephen McEntee - $24 876 towards the Creek Road Art Orchestra.

The round was very competitive and a large number of applications received.

The peers gave the following feedback to help current and future applicants:

• Discuss your application - even if you have previously applied for funding - with a member of Arts Tasmania’s Grants Team. Guidelines can change from round to round and it is important to make sure your information is up to date.
• Write in plain English and avoid unnecessary artform specific language or jargon.
• Proof read all parts of the application before submitting.
• Don’t assume that the peers assessing the application will understand or have prior knowledge of your career and experience. The peers come from a wide range of backgrounds and artforms. Consider including a statement about your career stage, background and where your practice fits in the broader sector.
• Be clear and direct about the project or activity you are looking for funding for. Show clearly its outputs and outcomes.
• Use dot points and/or subheadings in your application.
• Write applications in your own voice. The tone of the application does not have to be academic or formal in nature.
• Make sure your application clearly states the benefits of the proposed activity – either to your practice, an audience or the wider community.
• If partnering with other artists or an organisation, be clear about who is driving the project.
• If a project involves Aboriginal or Torres Strait Islander cultural content, the application must include evidence of consultation or engagement with members of the relevant community. If you are unsure about how to do this, please contact Arts Tasmania’s Aboriginal Arts Officer.
• Make sure you include letters of support from key project partners or participants.
• Letters of support should speak to your ability to do the project and the quality of their previous work.
• Letters of support should not be generic or reused from other funding applications.
• Carefully curate your artistic support material. A link to a generic website is too broad.
• Artistic support material should be clearly labelled and accessible.
• Show a clear breakdown of artist wages and fees (both cash and in-kind) in your budget. These fees should be calculated using industry rates or awards.
• Include a clear narrative or note against your budget items. More complicated items can be explained in the budget notes field.
• If your activity involves performances or exhibition, it can be helpful to include plans for marketing/ distributing your work or audience development.

The following peers assessed in this round (incorporating Artsbridge, Education Residencies, Individuals and groups, Organisations, Organisations [multi-year] and low-interest loans):

• Allison Bell
• Angela Driver
• Dan Rooke
• Harry Edwards
• Jabra Latham
• Jami Bladel
• Jane Forrest
• Kate Gordon
• Kiri Morcombe
• Liam James
• Megan Dick
• Michelle Boyde
• Michelle Forbes
• Nathan Tucker
• Samantha Dennis
• Serena Rosevear
• Tania Walker
• Tracey Cockburn
• Wayne Hudson

There were also peers that participated in this assessment who wished to remain anonymous and their names have not been published.