I’ve chosen works that will be, in the case of the first few works, very similar to the final works for the exhibition, ‘With or without you’. Other works speak of my practice and its influences, and then there are some installation works of images on silk as examples of the works in a gallery.
The first image is a soundtrack place holder. It can be played and listened to while viewing the other works. I’ve uploaded it to Vimeo to help with the site and streaming. It goes for about 20min, by no means do you need to listen to it all.
It’s a layering of 80’s breakup songs reversed and woven through environmental sounds. It’s an attempt to spell-break capitalisms celebration of individualism and disconnection from our environment.
Do you really want to hurt me? Tears in the rain. Hindsight. 80’s reverse magic. Romantic capitalism. 2021. Photograph of forest rain through camp window with reversed lyric subtitles, published as a video.
There is a light that never goes out, 2021 Silk Banner. (Anthem) Digital montage, sensorimotor drawing, weather systems and Kabi Kabi Country.
With or without you, 2021. Silk Banner. (Anthem) Digital montage, sensorimotor drawing, weather systems and Kabi Kabi Country.
Weather pattens, our greater bodies, 2021. Sensorimotor drawing and gestural outlines of Kabi Kabi Country overlaid in plant ink blots.
Dispersal devotion, travelling through, encasing messages from all the places we’ve been. We can’t help ourselves. Long range signifiers, depositing gatherings of senses between places. 2021, Montage of outlines of internet stock bodies encased with patterns, plants, flora, geology, Kabi Kabi Country, printed on silk.
All the places here, 2021. Montaged outlines of internet stock humans filled with patterns of plants and place overlaid within Country at Girraween National Park, where indigenous names for place have been displaced by colonialism.
We were paradise 2020, outlines of commodified bodies (porn) re-embodied in commodified landscapes (stolen land), sensorimotor site drawing, dredged coral concrete circa18C, snake skin, plant ink shroud, digital collage, printed on silk, hung from forest vine on Jinibara Country.
Video: Following a dry river Site specific installation of ‘We were paradise’, Incinerator Gallery, Art for social Change. Set on the boundary of Kabi Kabi, Jinibara and Wakka Wakka Country. A banner with outlines of commodified bodies (porn) re-embodied in commodified landscapes (stolen land), sensorimotor site drawing, dredged coral concrete circa18C, snake skin, plant ink shroud, digital collage, printed on silk, hung on site. In winter I followed a dry river, my hurting body, being with, through, burnt and cleared Country, past seeds waiting for rain, back home to this place of wetness. We are lucky here, the land rejuvenates quickly, we can hide all the horrors done to it. I followed this path and sang hits from my deranged childhood. I sang fire songs from pop stars of the 80’s, Eternal Flame/ I’m on Fire, played them backwards and put them through fires over stars, in snakes bellies, and bodies of land and flesh, damaged, and still hiding damage. I hope this is a loving omen of freedom, the moving of cycles, renewal and the end of all things held stuck or hiding.
‘Waterfall of bones’, install shot, from ‘When I was the forest there was nothing I could not love, Rubicon Gallery, Melbourne 2019 Bodies, trauma, instinct, nature, affect, cycles, patterns, bacterial intelligence, love and symbiosis. I work to reconcile my complex history with my environment.
Be/Coming Home, 2019 MailBox Art space, Melbourne. Sensorimotor drawing in Kabi Kabi land I’ve lived on. These are records of the deep reverence that can exist between bodies of land and flesh – petitions against the destruction of their unity. Love poems to Country, teaching me to come home, teaching me to become home.