Neon Parc acknowledges the Wurundjeri Woi Wurrung and Bunurong Boon Wurrung as the Traditional Owners and sovereign custodians of the Country on which we operate. We pay our deepest respects to their Elders past and present. Always was, always will be Aboriginal land.
Janet Burchill was born in 1955 in Naarm/Melbourne, Australia; Jennifer McCamley was born in 1957 in Meeanjin/Brisbane, Australia. Both live and work in Naarm/Melbourne.
Janet Burchill and Jennifer McCamley have been at the forefront of conceptual and feminist art since the early 1980s, producing a body of work that is as intellectually compelling as it is visually arresting. Working both collaboratively and individually, their multidisciplinary practice spans photography, printmaking, sculpture, text, painting, and neon, pushing the boundaries of artistic expression. Drawing on diverse influences—including political and artistic manifestos, modernist legacies, and conceptual art—their work engages in a deep critical dialogue with contemporary cultural and social issues. Recent major exhibitions include Simone Weil Project at Neon Parc and Guzzler Spirit at GUZZLER in 2022, while their landmark retrospective Temptation to Co-Exist at the Heide Museum of Modern Art (2019) solidified their status as two of Australia’s most thought-provoking and influential artists. Their work continues to challenge, disrupt, and redefine the parameters of contemporary artistic discourse.
‘Spring 1883’ David Pestorius, Hotel Windsor, Melbourne
2013
‘Future Primitive’ Heide Museum of Modern Art, Melbourne
‘Melbourne Now’ National Gallery of Victoria, Melbourne
‘Like Mike’ Neon Parc, Melbourne
‘Decline’ Top Shelf Gallery, Melbourne
‘Ten Years – Shanthi Road Studio Gallery’ Bangalore, India
‘Light from Light: Reprise’ MAAP Space, Brisbane
Collections
Art Gallery of South Australia, Adelaide
Art Gallery of Western Australia, Perth
Art Gallery of New South Wales, Sydney
Bendigo Art Gallery, Victoria
BP, Melbourne
Griffith University, Queensland
Heide Museum of Modern Art, Melbourne
I.C.I., Sydney
Monash University Museum of Art, Melbourne
Power Museum of Art, Sydney University, Sydney
Museum of Contemporary Art, Sydney
National Gallery of Australia, Canberra
National Gallery of Victoria, Melbourne
Queensland Art Gallery/Gallery of Modern Art, Brisbane
The Tasmanian Museum and Art Gallery
Artbank, Melbourne
(close)Burchill / McCamley, 'Void (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Prestige (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Decreation (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Grace (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Thing (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Force (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Necessity/Affliction (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Attention (Simone Weil Project)', 2021-22. Silkscreen, synthetic polymer paint on canvas, 152 x 122 cm.Burchill / McCamley, 'Simone Weil Project', 2022. Installation view.Janet Burchill & Jennifer McCamley, Poem of Force (Simone Weil Project), 2021–22. Silkscreen, synthetic polymer paint on paper, acrylic, 86.5 x 74.5 cm, Edition of 8 + 3 AP.Janet Burchill & Jennifer McCamley, 'Factory Work (Simone Weil Project)', 2021–22. Silkscreen, synthetic polymer paint on paper, 86.5 x 74.5 cm. Edition of 8 + 3 AP.Burchill/McCamley, Hate, Kill, Falsity (Sturtevant, The Brutal Truth), 2012, Hessian and acrylic on moulded plywood, 135 x 86 cmBurchill/McCamley, ‘The Definition of Now’, 2021. Tape, vinyl text, screenprint, mannequin, oil and water t-shirt, 4 x 10 meters. Installation at ‘The National 2021: New Australian Art’.Burchill/McCamley, ‘The Definition of Now’ (detail), 2021. Tape, vinyl text, screenprint, mannequin, oil and water t-shirt, 4 x 10 meters. Installation at ‘The National 2021: New Australian Art’.Janet Burchill & Jennifer McCamley, 'The Definition of Now, (Definition of Now)', 2021. Silkscreen on paper, 70 x 100 cm. Edition of 10 + 2AP.Janet Burchill, Collected Works of Emily Dickinson (263), 2015, synthetic polymer paint on hessian, 8 panels, overall 184 x 283 cmBurchill/McCamley, Figure A, 2016, Synthetic polymer paint on leatherette car seat, taxidermised pigeon, enamel on steel, 170 x 45 x 45 cmBurchill/McCamley, Falling Water (2), 2015, Cement, dye print on fabric, car seat, 143 x 94 x 55 cmBurchill/McCamley, ‘Bricks and Buttercups’, 2016. Neon tubing, electrical components, rope, firebricks, vinyl, synthetic polymer paint, 410 x 400cm.Burchill/McCamley, ‘Bricks and Buttercups’ (detail), 2016. Neon tubing, electrical components, rope, firebricks, vinyl, synthetic polymer paint, 410 x 400cm.Burchill/McCamley, Gertrude Stein (from the Charlotte Moorman drawing series), 1994/95, Pencil and carbon on parchment paper, 70 x 50 cmJanet Burchill & Jennifer McCamley, 'Arc Landscape I & II', 2004. Cast aluminium and steel 2 parts, 84 x 256 x (76cm, depth of curve): 125 x 256 x (40cm, depth of curve).Janet Burchill, Collected Works of Emily Dickinson (515 circumference), 2015, Synthetic polymer paint on hessian, 6 panels, overall 276 x 124 cmBurchill/McCamley, Screen Drawing, 2016, Watercolour, film poster, enamel, 102 x 87 cmBurchill/McCamley, Reflectors and Absorbers, 2016, Perforated aluminium, stainless steel, mirrored Perspex, rubber, 190 x 260 x 120 cmBurchill/McCamley, Point Blank, 2016, neon, 122 x 180 cmBurchill/McCamley, The Definition of Now (4 degrees), 2016, Fabric tape, galvanised steel, copi rock, aluminium can, spirit level, Dimensions variableJanet Burchill, Collected Works of Emily Dickinson (884), 2015
Synthetic polymer paint on hessian, glass, 5 panels, 64 x 92 cm each, 92 x 320 cm
