Place Patterns

Place Patterns is a series of inter-related creative projects and arts interventions that ask questions about how we inhabit place. Through public art interventions, exhibitions, performances and participatory projects, Place Patterns makes visible the cultural patterns of the place and people of Wyndham.

Using stories and demographic data generated through the 2040 Community Plan as a starting point, Place Patterns invited ten local artists to creatively produce new forms of knowledge about place, revealing more than data and demographics can.

Bindi Cole Chocka, an award winning Australian artist, acted as mentor to the Place Patterns artists during their two years of creative exploration and development. In her work Bindi examines self-identity and how it responds to pressures from prevailing culture. As a mentor Bindi guided the participating artists to shift their cultural practices into a contemporary public art practice and how then reimagine them as a framework to respond to Wyndham as a place and community.

These ten artists have done extraordinary work with a number of outcomes, not only mapping our community but have initiated cultural exchanges, given community members a platform to express themselves, and brought smiles to faces.

Throughout October and November artists will be showcasing the work they have developed in a variety of locations across Wyndham. Find out more about their projects and where you can see them below and join the Facebook Event here to be kept up to date on all Place Patterns happenings.

Place Patterns is supported by Creative Victoria through the Creative Suburbs Fund.

Florence Shinaduku

Florence has created a mobile movement workshop that engages the public in a performance exchange of Mutuashi dance.

Through this exchange, Florence aims to break down barriers between people from different cultural backgrounds, inviting relationship building through the mediums of dance, music and fun.

Through her Place Patterns experience she facilitated a performance alongside Snuff Puppets and the Australia Pacific Arts Network, demonstrating cultural exchange in action. She intends to extend this work into working with seniors.

Florence launched the workshop, her Place Patterns program outcome, at Block Party in November 2017.

Hengameh Ghaderi | HOME TO HOME

Hengameh’s images consider the similarities between Iranian and Indigenous Australian cultures.

Dressing her daughter in traditional Iranian dress and then putting her in settings in which she can interact with the Australian landscape or participate in ceremonial dancing with Indigenous youth, she suggests that there is a brighter future on the horizon for both cultures.

Anindita Banerjee | (21 + 6 + 8 = 36)

Employing a giant mirror pod Anindita has explored the notion of ‘Home’ amongst the diverse communities of Wyndham through recorded interviews with residents.

Do they consider Wyndham to be their home, a second home, or just a place where they currently live? Is home another place they long for, a memory?

Concerned with how people navigate and reconcile divergent versions of what home means and how it feels the video reflects myriad ideas, visions and dreams evoked by ‘Home’.

Benham Khamesi | FIRST LOVE

Benham asks what’s in a word, or two.

His 3D illuminated rendering of Iranian script reads “First Love”, and he asks for stories, memories, and interpretations from the public in response about their own first love that he will develop into a new series of works – potentially animation.


Deconstructing his attraction to indigenous Australian culture and the visual symbolic language that has sustained it, Clive discovered numerous parallels to his own Zimbabwean culture in the rites and ceremonies of the young men.

Combining the similarities, he has created his own hybrid symbolic language of the two and used it to construct an installation out of reclaimed industrial remnants.

Informed by his practice in traditional Shona carving, the structure features imagery from the two cultures and opens a dialogue around cultural protocols of where to sit in relation of gender, age, and direction of homelands.

Vicki Kinai | BILUM

A master weaver, Vicki has responded to the immigration patterns observed in Wyndham with the creation of an over-sized bilum, a traditional woven bag from Papua New Guinea.

Using this traditional form as a base, she has altered the size, material and added features like anchors and portholes to speak to how migrants hold onto their cultures and practices as foundations but sometimes build upon, adapt or create new ones in their new homes.

Imran Abul Kashem | SAME/DIFFERENT

SAME/DIFFERENT is a photographic investigation into the cultural habits of new and old Australians as revealed by idols attached to their rear-view mirrors.

Over the course of three years Imran secretly documented the trinkets he observed in vehicles around Wyndham City hanging from mirrors or sitting on dashboards.

Each object has its own character and revealed something of the driver whether it was religious beliefs, nationalism, sporting affiliation or even movie preferences. This series of photographs captures these experiences of identity and become a window to view individualism and commonalities. 

wāni Le Frère | KITOKO

KITOKO is an evening celebrating cultures and heritage of the African Diaspora, in a fashion parade featuring lyrical poetry, music, dance, and more, that speaks to Afrofuturism and collective contemporary black narratives in Narrm; Melbourne and surrounds. 

Ricardo Peyerya | LATITUDE 37.9119 S

In LATITUDE 37.9119 S Ricardo compares understandings of time and space across cultures and history.

Using a pendulum Ricardo illustrates the nature of time as the path of the pendulum intersects with its past path in its elliptical, rather than linear movement.

This course mirrors the Indigenous Australian story of the Bram Bram brothers who are represented by the Southern Cross, a key navigational tool used even today.

The brother’s time goes not only forward and backward, but also sideways.

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