Temple University invites all alumni, students, staff, faculty and their families to participate in a weeklong series of events for Homecoming & Family Weekend 2023, which will be held from Monday, Oct. 2, to Sunday, Oct. 8.
The main event is the football game on Saturday, Oct. 7, when the Owls will take on the University of Texas at San Antonio Roadrunners, preceded by Tailgate Village and the Temple Fan Tailgate, Temple’s biggest tailgate of the year. Other events not to be missed include the Tyler Art Market, Crafts and Drafts, and the Homecoming Golf Cart Parade and Pep Rally. A host of alumni-owned businesses will be offering goods and services at all of Temple’s Homecoming & Family Weekend festivities.
Temple will also continue to honor President JoAnne Epps’ immense impact on the university during Homecoming events. Attendees of Tailgate Village can pay tribute to her life and contributions by signing a memorial book that will be given to the Epps family and an on-field dedication to President Epps will also take place during the Homecoming football game. Homecoming & Family Weekend is a fantastic opportunity for old and new Owls to return to the nest and have fun celebrating Temple pride. Discover ways to show your Temple pride from the TU Spirit page.
Read on to learn more about the exciting experiences available to participate in during Homecoming & Family Weekend 2023. For more, visit the webpage for Homecoming & Family Weekend 2023.
A Celebration of Philanthropy in Action
This private event celebrates Temple’s most loyal donors and the impact their gifts ignite at the university on Thursday, Oct. 5. The evening will feature remarks from Kathy Hirsh-Pasek, Stanley and Debra Lefkowitz Distinguished Faculty Term Fellow.
City Food Tours
Enjoy the flavors of the Flavors of Philly Tour or Reading Terminal Market Tour. City Food Tours, owned by a Temple alum, is offering students and families a 15% discount during Homecoming weekend. Purchase tickets for the Flavors of Philly Tour and the Reading Terminal Market Tour.
Oct. 6–8
Reading Terminal Market Tour
Oct. 6, 7 and 8: 10 a.m.–4 p.m.
1136 Arch St.
Flavors of Philly
Oct. 6 and 7: 11:15 a.m.–3 p.m.; Oct. 8: 11 a.m.–3:30 p.m.
1601 Chestnut St.
Homecoming Golf Cart Parade and Pep Rally
Show your spirit and watch as student organizations, departments, schools and colleges parade across campus. The golf cart parade begins at the Diamond Lot and will end at Liacouras Walk, where the pep rally will begin.
Friday, Oct. 6
Golf Cart Parade
11 a.m.
Diamond Lot
Pep Rally
Noon
Liacouras Walk
Tyler Art Market
The 12th Tyler Art Market, featuring more than 30 artists and vendors, all of whom are either alumni or current students, is back at the Tyler School of Art and Architecture building on Main Campus.
Friday, Oct. 6
Noon
Tyler School of Art and Architecture
Family Weekend Welcome Table
Grab a campus map, Temple swag and more at the welcome table.
Friday, Oct. 6
2 p.m.
Howard Gittis Student Center
Family Social
Meet on the roof terrace of Charles Library with other Temple families and administrators and have your picture taken with Hooter, the university’s mascot.
Friday, Oct. 6
3 p.m.
Charles Library Terrace
Tyler Alumni Association Board Presents: Crafts and Drafts
Catch up with other Owls at a happy hour during the 12th annual Tyler Art Market. All registrants will receive a free drink ticket.
Friday, Oct. 6
5 p.m.
Tyler School of Art and Architecture
Mosaic Concert
Attend a concert featuring performances by the Boyer student soloists and ensembles, including the TU Jazz Band and Wind Symphony and Choirs, together with dance and chamber ensembles.
Friday, Oct. 6
7:30 p.m.
Temple Performing Arts Center
Ghost Tours of Philadelphia
Join an evening tour of true ghost stories and haunted houses at the Ghost Tour of Philadelphia, named a top must-see attraction in the country. Tours will be available throughout the weekend and discounted tickets are available for $18.
Oct. 6–8
Oct. 6: 7:30 p.m., 9:15 p.m.; Oct. 7: 7:30 p.m., 9:15 p.m.; Oct. 8: 7:30 p.m.
Signers’ Garden
Main Campus Program Board (MCPB) Comedy Nest
MCPB Comedy Nest returns for its second year and this year’s headlining performer is Karlous Miller. Advance ticket purchase required.
Friday, Oct. 6
8 p.m.
McGonigle Hall
Tailgate Village and Temple Fan Tailgate
Head over to Lincoln Financial Field and find your school, college, department or organization’s tent for the ultimate tailgate experience of games, giveaways, food, beverages and entertainment before kickoff. Tailgate with the Temple University Alumni Association at the Temple Fan Tailgate.
Saturday, Oct. 7
10:30 a.m.
Lincoln Financial Field, Lot K
Mural Arts Philadelphia Tour
Attend a Mural Arts Philadelphia tour through the city’s diverse neighborhoods and learn about Philly’s rich visual history from professional tour guides. Purchase tickets and use code OWLS23 for $5 off a tour booking.
Oct. 7–8
Oct. 7: 11 a.m.–3 p.m.; Oct. 8: 11 a.m.–2 p.m.
Lincoln Financial Mural Arts Center
Sightseeing Bus Tour of Philadelphia
Explore the best sights of Philadelphia in a 90-minute tour of the city aboard a double-decker bus. The tour will be accessible from Main Campus. Advanced ticket purchase is required.
Oct. 7–8
Oct. 7: 11 a.m., 2 p.m.; Oct. 8: 11:30 a.m.
Howard Gittis Student Center
Temple Football Game
Show your Temple pride at the 2023 Homecoming game as the Owls take on the University of Texas at San Antonio Roadrunners at Lincoln Financial Field. This year marks the 98th time the Temple Diamond Marching Band will take the field. Purchase game tickets.
Saturday, Oct. 7
2 p.m.
Lincoln Financial Field
Night Owl Events: Outdoor Family Movie
Enjoy an outdoor movie screening along with free food, giveaways and a chance to win prizes.
Saturday, Oct. 7
7 p.m.
Bell Tower
Family Farewell
Wrap up the final day of Homecoming weekend with coffee and snacks.
Sunday, Oct. 8
10 a.m.
Howard Gittis Student Center
Saturday, two artists that have traveled very different paths will debut their art at First Saturday Arts Market. The event is Oct 7, 2023, 11 a.m.-6 p.m. at 540 W. 19th St. Abstract oil painter Johnny Maloney comes by way of Melbourne, Australia. Heights resident Chris Prazak was inspired by his visits to the market and will present his passion of photography from his travels, Saturday.
Originally from Houston, Johnny Maloney, resides in nearby Montrose. He spent a decade studying and then working in Australia. He wasn’t in Australia to paint though, life just pushed him in that direction.
“My work is about the emotional impact of time and how certain events forge the personality of the present,” said Maloney. “I express this through wobbly forms of compounding lines and shapes, to illustrate the malleability of time and the many paths a single moment or choice can create. Coupled with vibrant colors to express the emotions left in the wake of such events.”
Time is what Maloney had a lot of after an accident then lockdowns during the pandemic in Melbourne.
Maloney’s creative life began with studying filmmaking at the prestigious, Victorian College of the Arts in Melbourne, Australia. After graduating he worked as a freelance filmmaker creating a plethora of music clips, short films and corporate videos.
“Always a deep lover and appreciator of art, it wasn’t until an ill fated skateboarding trip left me bedridden, that I finally picked up my paint brushes,” Maloney wrote. “This new creative outlet was a revelation, and while stuck in Melbourne’s lockdowns, I began painting the world around me, ultimately selling a number of these works online.”
First Saturday Arts Market will be Maloney’s second in the U.S. and he is also currently studying painting at the Glassell School of Art. See more of his art at https://www.johnnymaloney.com.
Chris Prazak’s passion is photography and said in an email he has been a prolific attendee at First Saturday and many of the other Houston markets and festivals. Visiting with other artists inspired Prazak to pursue his passion professionally.
Prazak describes his art as large, vibrant photography. His subjects certainly are, from massive ancient architecture to airplanes.
“I’ve been an avid photographer for many years,” Prazak wrote. “Over the last few years I have focused on creating photographic pieces that are different from what others are providing in markets.”
“My pictures are often of local landmarks and I work to show them in new light and perspective through long exposures to encourage the viewer to continue getting closer and closer to discover more that they might see at first glance. I love travel, adventure, and artistic exploration and seek to share my journey with others.”
Prazak said that Tim Herschbach, a professional photographer and years long regular exhibitor at First Saturday, steered him in the right direction.
“He (Herschbach) set me down the path to where I now own a top of the line tent, pro panels, large format printer, and all of the equipment necessary to create every step in the process.”
That is what I love about the arts community, there’s room enough for everyone. Follow Prazak on Instagram while he finishes building his website, https://www.instagram.com/chrisprazak.
Find details about all the artists at First Saturday Arts Market at https://firstsaturdayartsmarket.com.
Cohen is an artist and founder of the First Saturday Arts Market and The Market at Sawyer Yards. Find him at ArtValet.com for additional highlights and artist’s stories.
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Nalani Duarte, a University of Michigan-Flint arts administration graduate student, is not only curating a new collaborative art exhibition called “Riverbank X Flint Public Art Project,” she’s also actively ensuring that local art becomes accessible to the community by drawing upon the skills she’s developed during her academic journey at the downtown Flint campus.
One of those skills is grant writing. Earlier this year, Duarte wrote a grant seeking funding for the exhibition and successfully secured $10,000 from the U-M Arts Initiative. Duarte says that her grant writing class with Dean Adkins, UM-Flint theatre and dance lecturer, helped prepare her for the process. “I can’t thank Professor Adkins enough for preparing me for my career,” Duarte said. “It’s rewarding to apply skills I’ve learned to real life scenarios.”
The Flint native’s studies in arts administration and advanced production management have also provided her with fundamental skills like event planning, budgeting and marketing, which she frequently applies while working at Riverbank Arts. Part of the UM-Flint Arts and Research Cluster, Riverbank Arts has hosted numerous art exhibitions and performances, featuring 100+ artists, musicians, playwrights and performers. The cluster’s programming at Riverbank Arts strives to be more inclusive of performing arts and integrate it into coursework involving more than 150 UM-Flint students, including Duarte.
Since Duarte enjoyed her undergraduate experience at UM-Flint so much, it led her to explore post-graduate options as well. She said that the graduate program’s combination of museum studies and theatre management tracks are a definite advantage because it’s allowed her to immerse herself within a creative and diverse community.
“Stepping out of my comfort zone and working with others from different disciplines has helped me become more comfortable with approaching new people, and forming new personal and professional relationships.”
Duarte chose to pursue a career in the arts because it not only felt like a natural fit for her, but also because she is inspired by other like-minded individuals.
“I’ve always enjoyed drawing, and being around other artists has helped me work towards improving my own artistic practices.”
Duarte has worked at Riverbank Arts since 2022 and has helped curate two other exhibitions. She’s also gained hands-on experience with establishing and maintaining relationships with local organizations as well as curation and time management. She said that collaborating with an organization like FPAP, which focuses on revitalizing Flint neighborhoods through art and design, is important because it helps emphasize community engagement.
“We try to feature exhibitions and content that would best relate and appeal to our community members,” said Duarte.
Duarte, who will complete her master’s program this December, said that curating the exhibit has also provided her with the opportunity to associate with the artists installing their pieces at Riverbank Arts as well.
“The artists are coming into our space and creating their work directly on our walls, rather than dropping off finished pieces, and I’ve been able to connect with and be inspired by them.”
For more information about UM-Flint’s arts administration program, visit its webpage.
To learn more about the Riverbank X Flint Public Art Project, which is open through Oct. 13, visit its website.
Fiona Avocado, artist in residence at Westmoreland County Community College, visted the campus on Monday as part of the public reception for their work at the Science & Innovation Center Gallery.
The artist in residence program exposes students to a practicing artist through workshops and discussions.
An Art Market will be held Thursday when students and artists will offer their work for sale.
Avocado’s work will be on display through Oct. 27.
“A Cycle of Joy” (2023). All images © Thandiwe Muriu, shared with permission
Kenyan photographer Thandiwe Muriu (previously) questions conceptions of disposability in You Thought You Could Throw Me Away. On view this month at 193 Gallery in Paris, the exhibition includes a selection of Muriu’s striking portraits that camouflage her body amongst vivid, kaleidoscopic backdrops. Vibrant and disorienting, the photos emphasize the artist’s limbs, hair, and eyewear made of everyday materials and ask viewers to reconsider who and what are thought of as expendable.
Many of the works shown here are part of Muriu’s Camo series, which envelops the artist in Ankara wax fabrics common in Central and West Africa. She also dons accessories made of objects frequently used in Kenya, including sieves, plastic bottle caps, and flat spools of thread, that are created in collaboration with local artisans and makers. Each work reimagines portraiture traditions and what it means to be a modern woman, especially as it relates to notions of value and importance.
You Thought You Could Throw Me Away will run from October 14 to December 30. Until then, find more of Muriu’s works on her site and Instagram.
“Our Collective Beauty” (2022)
“Call Me Please” (2022)
“I See You” (2022)
“Victorious Dreams” (2023)
“Circles of Love” (2023)
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Thandiwe Muiru Confronts Notions of Value in Her Vividly Disguised Portraits appeared first on Colossal.
“A Cycle of Joy” (2023). All images © Thandiwe Muriu, shared with permission
Kenyan photographer Thandiwe Muriu (previously) questions conceptions of disposability in You Thought You Could Throw Me Away. On view this month at 193 Gallery in Paris, the exhibition includes a selection of Muriu’s striking portraits that camouflage her body amongst vivid, kaleidoscopic backdrops. Vibrant and disorienting, the photos emphasize the artist’s limbs, hair, and eyewear made of everyday materials and ask viewers to reconsider who and what are thought of as expendable.
Many of the works shown here are part of Muriu’s Camo series, which envelops the artist in Ankara wax fabrics common in Central and West Africa. She also dons accessories made of objects frequently used in Kenya, including sieves, plastic bottle caps, and flat spools of thread, that are created in collaboration with local artisans and makers. Each work reimagines portraiture traditions and what it means to be a modern woman, especially as it relates to notions of value and importance.
You Thought You Could Throw Me Away will run from October 14 to December 30. Until then, find more of Muriu’s works on her site and Instagram.
“Our Collective Beauty” (2022)
“Call Me Please” (2022)
“I See You” (2022)
“Victorious Dreams” (2023)
“Circles of Love” (2023)
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Thandiwe Muriu Confronts Notions of Value in Her Vividly Disguised Portraits appeared first on Colossal.
“Staying Ahead – opportunities for the UK art market” was the lead topic of the Art Business Conference in London last month. The competition between London and Paris is a subject that has obsessed observers ever since Brexit and the drift of powerful international galleries with London bases (David Zwirner, Gagosian, Hauser & Wirth) to open branches in Paris – long overshadowed by London’s more attractive tax regime and higher number of billionaire residents.
In terms of global market share, the UK is second only to America, and its closest challenger is China, not France. But there has been a shift in perceptions about the balance of power in the art world – ones that are particularly pertinent this month, in which London celebrates the 20th anniversary of the Frieze Art Fair.
When Frieze launched, it was in direct competition with Paris’s long-running market leader FIAC (Foire Internationale d’Art Contemporain) and before long it was attracting thousands of well-heeled visitors from all over the world. London’s October auctions, previously quite minor events, became major money-spinners, growing tenfold in just three years. Meanwhile, the Paris sales trod water, and FIAC struggled to maintain its status on the European calendar.
Now the winds of change are blowing again and Frieze, having rudely pushed FIAC aside 20 years ago, faces the more powerful Swiss-based Art Basel (part of the MCH Group, where James Murdoch is the major shareholder), which has taken root in Paris, replacing FIAC with Art Basel Paris+. The second iteration takes place a week after Frieze this month, appealing to a similar list of exhibiting galleries, similar artists and a similar international crowd of collectors – though with a stronger French bias.
London has already proved its mettle this year. When Murdoch’s MCH group withdrew its support of London’s top summer art and antiques fair, Masterpiece, it planted the seed of an idea that the London market was on its knees. But within a matter of months, a replacement, the Treasure House Fair, had sprung up, in true bulldog spirit, in the same location (Royal Chelsea Hospital) at the same time of year, backed by two of Masterpiece’s originators, Harry Van der Hoorn and Thomas Woodham-Smith, and is set to do so again next year.
Basquiat’s Future Sciences Versus the Man is estimated at £9-12 million
Credit: Jacek Gancarz
London Mayor Sadiq Khan thinks the capital’s art market is healthy enough to support a creative drive, London Creates, which is being launched alongside Frieze to promote London as a creative world-leader. But Melanie Clore, a former chairman of Sotheby’s Europe, thinks the market itself needs government support. “The overseas exhibitors at Frieze all have to complete a temporary admission [TA] form to import their exhibits,” she said at the conference. “What would help would be if there could be one TA scheme that covered the whole fair. Things like that would really boost the market.”
From an auction perspective, London is not booming. Frieze week is estimated to bring 169 million in sales at Sotheby’s, Christie’s and Phillips this year, down just 1.2 percent on last year’s estimate, but a more telling 42 percent down on the total 293 million pounds in 2017.
Only Christie’s in London is looking at an improvement on last year’s Frieze week takings, with a Basquiat estimated at £9million-£12 million; a potentially record-breaking Paula Rego at £2 million-£3 million; and some choice post-impressionist works by Vallotton, van Dongen and Gauguin from the collection of Paul Josefowitz adding an estimated £30 million to its haul.
A picture of health: Last year’s Art Basel at the Grand Palais in Paris
Credit: Luc Castel
In Paris, meanwhile, the auction consignments are stacking up. Sotheby’s has chosen to sell an €11 million tranche of the Pauline Karpidas collection in Paris rather than London, as some may have expected, and Christie’s is looking to exceed last year’s €74.4 million total (£64.6 million) with an eight-figure Miró and a 10ft, €4 million-€6 million bronze Rhinoceros by François Xavier Lalanne that will bring it neck-and-neck with its London branch.
At the Art Business Conference, one of the speakers was a Frenchman, François Chantala, who works with a leading UK gallerist, Thomas Dane. Chantala played down the rivalry between London and Paris, framing the two cities as interdependent powerhouses just two and a half hours apart, each with its own attractions that could be mutually beneficial.
Nicholas Cullinan, the director of the National Portrait Gallery, quoted the American editor of Vogue, Diana Vreeland, who when asked to remember how she liked being in London in the 1920s and 1930s, replied: “London was wonderful; but the best thing about London was Paris.”
That’s a sentiment we may just have to learn to live with again.
Copper-bottomed: the Bradwell Warrior was discovered in Norfolk
Credit: Richard_Valencia_Photography
Antiquity dealers have a chance to show off some miraculous finds in the Frieze Masters section of the Frieze Art Fair in London this month. A classic example is a 1.65-inch-long Anglo-Saxon copper alloy horse and rider named the Bradwell Warrior, which was discovered by a metal detectorist in Norfolk in 2015. At the time, the Treasure Act required that only precious-metal finds be handed over to the state, so even though the find had to be recorded, the object was returned to the detectorist. In 2020, they placed the object in a small auction, where it was estimated at £6,000- £8,000. Imagine their surprise when it sold for £120,000. The purchaser was the veteran antiquities dealer Rupert Wace who is now displaying it with an asking price of £180,000 at Frieze Masters. Now that the laws have changed to widen the definition of treasures, the warrior could not have appeared on the market had it been found today.
It doesn’t seem so long ago that China was the buzzword in the Western art market, with privately owned museums springing up like mushrooms to house the best that money could buy.
Based in Shanghai, Budi Tek’s Yuz Museum and the Long Museum, owned by former taxi driver Liu Yiqian and his partner Wang Wei, were at the top of the list for gold-digging dealers and auctioneers. Among the latter’s most memorable purchases were a large Reclining Nude by Modigliani, for which they paid a breathtaking $170 million (£113 million) in New York in 2015, and Jenny Saville’s imposing study of naked bodies, Shift, which they bought for £6.8 million in 2016, a record for a living female artist.
Downsizing: Le miroir universel by Magritte was one of the treasures to go
But recently the Chinese economy has hit a sticky patch in response to the pandemic, the property crash and political instability. The Yuz Museum downsized this summer, and this Thursday, the Long Museum is disposing of some 40 of its treasures at Sotheby’s in Hong Kong.
Acquired over the past 14 years, they are estimated at as much as $135 million. The top lot by Magritte, bought in 2015 for $6.6 million, could double that to bring in $12 million, and a still life by Swiss artist Nicolas Party, bought in 2020 for $1 million, could sell for as much as $3.5 million. But the top lot, a female nude by Modigliani which cost $42.8 million in 2015 might fetch no more than $45 million.
Rosie has always let curiosity take the wheel when it comes to her career.
“When I’m talking to people and they’re really passionate about what they do, it makes me think how can I get there? What can I do to get closer to that feeling?” she says.
Since training in contemporary art, Rosie has worked in marketing and as a project manager in startups and banking. She started out in the field of science, technology, engineering and mathematics (STEM) in 2014.
Rosie is a now a Technical Program Manager with our world-leading robotics team.
©
CSIRO 2022. All rights reserved.
Rosie comes from a long line of creatives, with her parents meeting at art school. She followed in their footsteps, but ultimately the lonely aspects of artistic practice set her on a different path.
“I’m a social person and I just felt as though the actual career of it was a bit isolating and may not suit my needs,” Rosie says.
“I really like being part of a team and building something with people together.”
A collaborative team, driven by impact, where her people skills could come into their own became her north star. She completed a double masters in marketing and advertising, and started out in the industry. But she still didn’t quite feel at home.
Rosie fought hard not to be pigeonholed by her former roles. It took her 60 job applications to get a callback for her first job in tech.
But eventually, her persistence paid off. She landed a job with a small software engineering business in 2014. After eight years in the tech industry, Rosie joined us in 2022.
“I do feel that my job at CSIRO is actually the closest I’ve ever achieved in getting to that end goal… this is where I’m meant to be,” Rosie says.
Rosie is now a Technical Program Manager in robotics and autonomous systems. She ensures projects are delivered within scope, timeline, budget and acceptable risk.
She’s currently leading a project to help the International Atomic Energy Agency stop nuclear fuel from being stolen to make weapons. The project is building a robotic device to monitor spent fuel in cooling ponds. This task currently falls on the shoulders of human nuclear inspectors, who spend almost a quarter of the year on the road, carrying heavy equipment, and wearing protective gear to prevent radiation exposure.
Rosie said this game-changing prototype is the first of its kind to be submerged in the pond. This technology is increasing the accuracy of monitoring, relieving some of the pressure on human inspectors, and supporting world peace.
“What I’m most passionate about is the translation piece, helping people understand what it is we’re trying to do and why,” Rosie says.
“It’s technically complex, we’re working with a client based in Vienna, in a very politically sensitive and sometimes secretive space.”
©
CSIRO 2022. All rights reserved.
It’s hard to imagine two fields more different than contemporary art and robotics for nuclear safety. But Rosie says her arts degree helped teach her how to communicate complex concepts and ideas, without getting lost in the noise.
“Creating art teaches you to look to history, acknowledge those before you, have a vision and resonate on a higher level with an audience,” Rosie says.
“This was great practice for translating complex ideas and taking stakeholders on the journey of research visions that might take years, even decades to realise.
“But it’s just as important to stay focused, and not get caught up in the concept. I’ve worked to condense this project into bite-sized pieces so we know we’re we’re going and why. This helps ensure what we’re doing is sustainable and achievable.”
Rosie’s current workplace, nestled among the gumtrees in Pullenvale outside Brisbane, is a far cry from the crisp white gallery spaces and the towering high-rises of her previous roles.
Her team is also a total change of scene. Rosie is one of just 11 women in a team of 58 at Pullenvale. She is one of two women in the robotics leadership team.
“I’ve never worked with so many men before. There is an incredible sense of camaraderie and just wonderful banter,” she says.
But being one of a handful of women in a workplace can be isolating.
“I am deeply committed to connecting and creating an environment for more women to flourish. We have succeeded in improving the representation of female scientists and engineers, but there is still much more work to be done,” Rosie says.
“Transparency in data and tracking the opportunities that women receive, their seniority and the number of women on term contracts versus permanent employees is important to me.”
Rosie runs monthly gatherings for female managers, scientists, and engineers in her wider research group. These gatherings aim to provide a platform for women in robotics to connect, offering support and sharing information regarding opportunities and industry events. She’s also actively worked to lift the representation of women in senior roles on the nuclear safety project from 10 to 50 per cent.
©
CSIRO 2022. All rights reserved.
Championing diversity and inclusion has always been a key deliverable for this program manager. She originally set her heart on working at us when she saw our team march in the Sydney Gay and Lesbian Mardi Gras parade.
Her journey came full circle this year, with Rosie marching along Oxford Street during Sydney WorldPride 2023 with CSIRO’s team of 70 LGBTQIA+ staff and allies.
“Participating in the parade as an ally this year was a once-in-a-lifetime opportunity. I actually lived my dream,” she says.
“It was tiring to continue dancing the whole way, and I didn’t think I would make it, but I had a lot of electrolytes afterwards and was on a high that lasted for a few days.
“In some of the more corporate environments I’ve worked in, you feel like you need to conceal who you are. The celebration of the individual and that celebration of being different at CSIRO is something truly special.”
