In December, Claire Weir and I spoke by phone, separated by some six hundred kilometres and a good twenty degrees Celsius.
She sat in her air-conditioned car to escape the Goldfields heat, after a full day that saw her regular nine-to-five bookended by an ABC interview and a photo shoot with The Kalgoorlie Miner. The media attention surrounded NEXUS, the Goldfields iteration of the Regional Arts Triennial: Radical Futures. As Curator, Claire was eager to share more.
Originally from Ireland, Claire is a passionate curator, photographer and storyteller. “I studied photography in Ireland and have worked as a photographer ever since. I’ve always worked in the arts, managing galleries and showing my work, but art has mostly been a part-time gig” said Claire.
“The arts is a challenging industry because of its instability. It gives so much to our culture but is commonly undervalued as a career. In regional arts especially, it’s hard to be successful without consistent sacrifice. I’ve always had a technical job to support my day-to-day” Claire shared.
Based in the Goldfields for the past decade, Claire has found stability and purpose working in social impact management within mining and community engagement. “Because of this, I have an inherent understanding of community needs and opportunities for development” she explained.
When the opportunity to curate the Goldfields edition of the Triennial came up, Claire jumped at it. “I just love the opportunity to work with artists and move back into that space that really fills my cup.”
Image: Claire Weir with her dog Diesel. Photography by Gordon Regan.
Finding a transient voice
From the outset, Claire’s curatorial vision centred on representing the true character of Kalgoorlie and the Goldfields. “It’s a very transient region, so I felt the need to include transient voices.”
All nine of the artists were born outside of Kalgoorlie-Boulder, hailing from Egypt, Queensland, Bosnia and Herzegovina, Albany, Derby, Perth, Norseman, Czech Republic and Dingo Creek.
“That was a big part of the curatorial process, ensuring that we had the right balance of artists, with a diversity of transient voices, and an exhibition that reflected our community.”
Led by the land
Over nine months, Claire worked closely with the artists, supporting the development of their work through conversations, workshops and field trips. Together, they unpacked the concept of Radical Futures, responding through their distinct practices.
“There was an inherent connection across the works, each artist wanted to reconnect with the Earth,” Claire noted. They talked about the importance of listening to country and being led by the land.
Food emerged as a common thread, evident in works such as Carol Thompson’s Ngapatji Ngapatji – Plenty for everyone, and Monika Dvorák and Brent Johnston’s collaborative piece Barna – balya mirrka kuka birni – the land provides good food for all. Access to land and resources, particularly water, also surfaced through works like Azman Shaw’s Parna Kapi Karltara – Healing land and water.
Collectively, NEXUS imagines an alternative future for the Goldfields—one no longer defined by extractivism, but by the mutual flourishing of both land and people.
“The theme of ‘nexus’ came directly from the artworks and the artists,” Claire said. “It created a cohesive connection. When I looked at the other regional exhibitions after, I realised they all referenced earth and ground. Across the Triennial, there’s this shared rhetoric of reconnecting with nature.”
Image credits: 1. Jacqueline Mills, Linda Rae, Azman Shaw, Claire Weir, Brent Johnston, Kelly Arcaro, Monika Dvorak and Lundy Carol Thompson at the opening of NEXUS. 2. Claire Weir at the opening of NEXUS. 3. Jacqueline Mills, Age of Renewal, 2025, Acrylic on canvas, texture, found objects. 4. Azman Shaw, Parna Kapi Karltara – Healing land and water, 2025, Acrylic on canvas. All photos by Mellen Burns.
A community of learning and mutual flourishing
For Claire, curating NEXUS was also an exchange of knowledge and skills. “I had the practical curatorial experience, but unpacking the themes and running the programs was something Sarah Roots really supported me with. And drawing on my own practice helped an awful lot.”
Claire facilitated a series of workshops, including artist statement writing and a ‘Bring a Meal Related to Your Artwork’ session. One participant, Linda—whose work involved a smoke machine—explored her concepts through food, bringing baba ghanoush made from charred eggplant to evoke smokiness. “It was fun,” Claire said. “The workshops and catch-ups created space for deeper connection.”
“What really appealed to me was the sense of community, because being an artist can be very myopic and insular” Claire reflected. “You don’t get these opportunities to collaborate often, especially in the regions, so it’s a real gift.”
Claire sees herself and the artists as Regional Arts Triennial alumni, connected not only to this iteration, but the previous ones as well. “In mining, professional communities and alumni networks are common. I see this Triennial as an artist community in the same way. I’ve made lovely friendships through it.”
Image credits: 1. Monika Dvorák & Brent Johnston, Barna – balya mirrka kuka birni – the land provides good food for all, 2025, Earth, Ochre, Oxide & Acrylic on canvas. Photo by Claire Weir. 2. Kelly Arcaro, Crafted Future, 2025, Wood, wire, fabric, foliage and rope. Photo by Kelly Arcaro. 3. Christine Shanahan, Organic Haulage, 2025, Acrylic on canvas. Photo by Claire Weir.
Shining a light on Goldfields talent
Through NEXUS, Claire hopes audiences will recognise the depth of artistic talent in the Goldfields.
“I’ve seen the artists move outside their comfort zone. Jacqui, a classical painter, for example, really questioned her validity being involved. By unpacking what a contemporary artist is and the radical future theme, Jacqui produced a stunning, layered, and textured artwork. She really explored regrowth and renewal” said Claire.
“In mining communities, the arts can be underappreciated, especially in transient regions. I hope this exhibition raises awareness of the incredible work being done here, and encourages people to support the artists, whether by commissioning or purchasing their work.”
Radical Futures: NEXUS is on at Artgold until 1 February. Visit the Artgold website for more information.
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.