“You know, people talk about finding their tribe, and I’ve always asked, ‘Where is my tribe of people?’ Well, I think I’ve found my people through this” said Japneet Keith, curator of Radical Futures: In the Quiet of the Land.

Presented at the Old Courthouse Complex in Busselton as part of the Regional Arts Triennial, In the Quiet of the Land featured work by South West artists Gerald Ashcroft, Elaine Clocherty, Vivian (Dwardinan) Brockman Webb, Mitchella (Waljin) Hutchins, Merle Davis, Christian Fletcher, Francesco Geronazzo, Gary Hambleton, Melanie Jarman, Kay Manolas, Kim Perrier and Barbara Weeks. In this conversation, Project Officer Kristen Brownfield chats to Japneet Keith about her experience curating the exhibition.

Image credits: In the Quiet of the Land opening at Old Courthouse Complex. Images courtesy of Japneet Keith.

Kristen: Japneet, can you share a little about your background and how you got involved in curating the Busselton iteration of the Regional Arts Triennial?

Japneet: I come from an industrial design background. As designers, we try to push the boundaries; we either try to create something new for the ecosystem — for humans, animals, whichever area you take — or improvise with something that already exists. In the age we are living in, where everything has pretty much already been developed, you have to improvise with what’s already there. Coming back to this, I think, one of the things it did was bring into perspective what a curatorial role is, which I tried to share with the artists when we started.

I was sitting at my work desk when I saw the opportunity come up through the City of Busselton. At the time, I was overloaded with all sorts of work that wasn’t really my strongest field. I thought I’d just give it a go, so I applied. I heard back from Sharon Williams, the curator at Old Courthouse Complex, who said they’d love to have me on board. We had a little chat about how I see things, and I shared my experience of living in the Dunsborough and Busselton area for the last eleven years. To my great surprise, I got the job.

I hadn’t even told my partner I’d applied. It was an extreme thrill — a real boost to my career, my practice, and my identity. Fiona Sinclair then came to visit me down here at my gallery, a pottery-gallery studio I run with my partner Gary Hambleton. Alongside that, I also work as a Pottery Manager at Commonage Pottery and Gallery in Dunsborough. 

Kristen: What a wonderful opportunity. How did you interpret the Radical Futures theme?

Japneet: I began by unpacking Sarah’s brief; Where do we see threat? Where do we stand? Where I live is a hybrid town — it looks perfect on the surface — but at the same time the housing crisis is becoming very real. People who have lived here for twenty years are suddenly homeless. It’s a challenge spreading through communities everywhere due to finances, things like Airbnb, and tourism.

Kristen: The housing crisis continues to come up in these conversations.

Japneet: It is a real crisis. I lived in the Dunsborough area for eleven years, and then suddenly, we found ourselves without a house. We had to move away. So now we live about an hour and twenty minutes from my workplace. I drive into town every day. I manage it, but is it healthy? Is it what we want long term? Eventually you reach burnout and realise you need that time back.

Kristen: What did the process of curating In the Quiet of the Land look like?

Japneet: From the beginning, I worked closely with Sharon Williams, my curatorial mentor. We held a small gathering with the community to let them know about the Regional Arts Triennial. We made a call out for artists and received more than fifty entries from across the Southwest region — from Balingup and Bridgetown, to Dunsborough, Busselton and Margaret River. It was an amazing response: video artists, AI practitioners, weavers, established artists, emerging artists — people really wanting to be part of it. The curatorial brief helped to guide our selection, and in the end, it became a strong mix geographically and across practices. 

Kristen: What sorts of things are the artists exploring?

Japneet: Much of the work responds to the environment. We talked a lot about the housing crises, tourism pressures, and financial strain, but that ultimately, what matters is whether we look after and respect the land. These issues come partly from losing our connection to the environment. 

Gary Hambleton’s Mineral Drift, an installation of wheel-thrown ceramic plates and pebble-like forms, explores the ocean and local minerals. All the clay is locally sourced, and the deep blue in the work comes from black mineral sands found only on the beaches in this region. It’s a meditation on how the environment comes into the domestic space. Another ceramicist, Kay Manolas, looked at the recent coral bleaching that took place along the southern coast. 

Barbara Weeks’ piece Tread Softly reflects on the feeling of walking through a forest. She created a blanket and a stole, individually hand-dying fabric pieces. Merle Topsi Davis has taken sea sponges and crocheted them between human figures, in her work Transfiguration. She also crocheted a small brooch for herself to wear on the opening day, which I thought that was just beautiful. 

Dunsborough and Busselton are growing rapidly with the airport and development, but are we honouring what should be honoured, or simply letting it slip away? That’s been a big question for all of us. 

Kristen: What was it like exhibiting in the Old Courthouse Complex?

Japneet: We were meant to exhibit at the new Saltwater Busselton venue, but I think the Old Courthouse worked well. The site itself has many layers of history, and includes the customs house, police station, and courthouse. You enter the gallery through the jail corridor, down narrow passageways and suddenly realise where you are. It’s a slightly unsettling feeling — almost claustrophobic. Then you move into the exercise yard. It’s a wide space, but the cells themselves are very small. You really see how things were.

Kristen: That’s a very loaded space.

Japneet: Yes, deeply historical. It’s been powerful to reimagine a space that carries so much weight for many people. For example, Wardandi Elder and artist Vivian (Dwardinan) Brockman Webb, Mitchella (Waljin) Hutchins and Elaine Clocherty collaborated on a work inside the cells. A Spirit Held Captive is Always Free is an intricate installation made from locally-sourced natural materials like nuts, sand, seeds, shells, and flowers. It includes black cut-outs of human shadows and an installation on the wall with a projector of stars and light. It’s covered with glass beads so it glistens, and there’s incense and sunlight interacting with the work. Even the smell was part of the experience. It’s stunning, and very powerful. The artists spent four days developing the work in the exercise yard. A Spirit Held Captive is Always Free reflects on remembrance, grief, acknowledgement and renewal. After the exhibition closes, there will be a small smoking ceremony to calm and acknowledge the spirits of the place.

Kristen: It must hold a lot of energy.

Japneet: Yes, I think so. 

Kristen: Have you made new connections through this experience?

Japneet: Absolutely. I think that’s what the Regional Arts Triennial does so beautifully. Through simple things like WhatsApp, all the curators across WA have been able to support each other, especially in moments of overwhelm. Even without meeting in person, there’s a genuine warmth between us. We need that now. Art can sometimes become competitive, but this experience has broken down some of those barriers. Working with local government, I’ve also learnt so much about balance. I think it’s great for individuals to be able to tie in with government. There is a balance, and a lot of support came across from the City of Busselton.

You know, people talk about finding their tribe, and I’ve always asked, “Where is my tribe of people?”. Well, I think I’ve found my people through this. It’s been quite a ride. As the shows have been opening we have been hearing other people’s little experiences and it’s been amazing. I did not realise the enormous work I had put in because I was doing it everyday, but I think seeing it all come together, and having the privilege of having Sarah Roots for the opening over just changed it all, and seeing the artists interact with her. 

Kristen: That’s so warming to hear Japneet. Is there anything else you’d like to share?

Japneet: Overall, the experience has felt very sacred. It came to me at a time I needed it. I think it’s kept me alive for a very long time. I’ve learnt so much through collaboration, and I would like to thank you to everybody involved – all the artists, curators and organisations who’ve made it possible. We should all feel proud that we’ve managed made something so authentic. I hope it stays authentic for a long time, and I think more people will see the value in it and come on board. 

Kristen: Congratulations Japneet, and thank you.

Radical Futures: In the Quiet of the Land took place at Old Courthouse Complex, Busselton House from 7 February – 1 March 2026. Find out more about the exhibition here.

The WA Regional Arts Triennial 3: Radical Futures is funded with support from the WA Government. It is coordinated by Southern Forest Arts with support from ART ON THE MOVE through the Regional Exhibition Touring Boost. Project partners include John Curtin Gallery, Regional Arts WA, GalleriesWest and Kimberley Arts Network.