Victorian College of the Arts - Research Publications
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ItemX (for Kate)(Sarah Scout Presents, Melbourne, 2022-08-04)X (2022) was a site-specific work that considered the nature of colour, representation, and the limits of minimalist affect. A monochrome (yellow) chalk drawing, X was conceived as a memorial artwork in remembrance of late colleague Kate Daw. “X” is a kiss. “X” marks the spot. “X” is also an end. X (2022) extended upon the legacies of Mimimalism to consider representational and affective experience. A monochrome of bright yellow chalk covering the entirety of a salon-style gallery wall, the colour was the same bright sun-yellow as a gifted cashmere jumper. It was also a colour Kate would wear. The density of the chalk pigment presented a kind of visual absorption. As an affective experience, and through metaphor, X (2022) innovatively and sympathetically presented an artwork of affective memorialisation. X (2022) was created for the exhibition “Love, work (for KD)” held at Sarah Scout Presents, Melbourne. The exhibition was a tribute exhibition for the artist and academic Kate Daw (1965-2020), who was the Head of Art, VCA, School of Fine Art at the University of Melbourne when she passed. She was a close colleague and friend. A vastly popular and influential figure, the exhibition “Love, work (for KD)” was notably well attended by artists, academics and industry figures. The experience of attendees, including critic Amelia Winata (winnyyoyo on Instagram) were frequently shared on social media, often featuring the artwork X (2022).
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ItemNo Preview AvailableSelf Care Action(Beechworth Contemporary Art Award, 2022-09-15)Self Care Action is an ongoing series of 20 hand-knitted panels bearing texts relating to self-care. The project explores how self-care has its roots in radical activism. As a term, it dates to the US based civil rights and women’s rights movements of the 1960s and 1970s. Each work operates a simple reminder that I consider crucial for my own emotional survival and resilience. It is also an invitation to others to imagine how they might prioritise caring for themselves and the personal and political implications of self care, particularly for women. The knitted Self Care Action panels are all the same size. They are brightly coloured and deploy the same rounded font. These simple design elements underscore the optimism of the project and the clarity of the actions. Actions from the series include: Ask for help, Stay Present, Switch Off Your Phone, Love Yourself, Make Art, Get Into Nature, Feel Your Feelings, Get Therapy, and Say No. The works were shared on Instagram via @katejustknits and using the #katejustselfcareaction with images of each work, pictures of me holding each sign up, and text about each self-care prompt. The work considers how in a political climate in which women's rights are being challenged and threatened, war is being waged around the globe, and a pandemic is unfolding, how art and conversation around self care can provide a mode of resistance and resilience. The fact that the works are knitting further amplifies the potential to use craft as a medium to explore and cultivate ideas of care. The Beechworth Contemporary Art Award was a competitive award in which only ten finalists were selected, attesting to the works significance. Knitting events held during the presentation of this work at Beechworth were well attended by the public. Radio interview on 94.9 Maine FM shared the project more widely. The work will continue to be developed to a major presentation of 45 works at Linden Gallery in March 2023, and then be included in a curated exhibition of textile artists at Hugo Michell Gallery in July 2023. Interest from Shepparton Art Museum and Tamworth Textile Triennial further attest to the works' relvance at this time. The work was funded by an Australia Council Fellowship, a prestigious art award that goes to one visual artist in Australia each year.
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ItemTheorem(MEJIA Gallery, Melbourne, Australia, 2022-11-30)Theorem: an exhibition comprised of 11 figurative sculptures cast in plaster that shed light on series of philosophical propositions in the in work of philosopher Michel Serres,.entitled Statues: A Second Foundation. The sculpture exhibition gives a material form to a series of philosophical concerns regrading the origins of sculpture and the interconnections between sculpture as idol, as theological transgression in the 3 monotheistic religions of the book, as embodiment of death, and in recent scientific research. Through an aesthetic engagement with materials, abstract concepts are given a palpably tactile and visual form. Image of exhibition attached. A paper discussing the connection to philosophy of Herder on the liminality of sculpture in relation to my the exhibition, Theorem, was presented at the Australasian School of Continental Philosophy conference 28th - 30th Nov, 2022 by Professor Alexander Garcia Duttmann, Universitat de Kunst, Berlin. See Duttmann's paper attached and his Institutional affiliation.
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ItemNo Preview AvailableA Seat at the Table(Sharjah Biennial 15, 2023)A Seat at the Table, is a super-8, digitally projected, installation forming part of multidisciplinary Indigenous artist, Destiny Deacon's, major work Bait Blak, commissioned by the Sharjar Art Foundation, and exhibited as part of the Biennial 16, 2022/3.
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ItemKids Stay Free(Gippsland Art Gallery, Sale, 2021)“Kids Stay Free” is an architectural ruin fantasy that is a contemporary reinterpretation of the historical capriccio genre.
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ItemSTILL NOW(Horsham Regional Art Gallery, 2021-05-29)Oceanic Feeling and Old School were paintings included in the curated exhibition STILL NOW held at the Horsham Regional Art Gallery.
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ItemEx Tropical(Bayside Arts and Cultural Centre, Melbourne, 2020)Ex Tropical is an example of a contemporary approach to making paintings about ruins that speculate about possible futures.
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ItemNo Preview AvailableLightfilmbody(The National Portrait Gallery, 2016)Lightfilmbody was a moving image work that animated the façade of The National Portrait Gallery Canberra. The work ran for 2 weeks during Enlighten on a loop and was made as an assemblage of film strips of moving image, with each frame animating in replication of a filmstrip. The notion of the portraiture and light in painting was reiterated as an ethereal bodying of water, a fallen painting out of place and falling against the toxic concrete building. The work was montaged with immaterial animations hand painted with bold colour under camouflage and highlighted the organic and built materials of the grounds.
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ItemNo Preview AvailableColour Field Painting(Collingwood Football Stadium, 2017)Colour Field Painting was a permanent film projected onto the station side-facing wall of Collingwood Football Stadium. The work ran for six months on a loop and then again as a later work for three months. The work was made as an assemblage of the moving image, photography and a painted field of colour. The old disused building exterior was under bold camouflage. It highlighted the organic and built materials of the ground. The photography was deliberately taken on the ground, the surroundings, and the site on the anniversary day of the referendum.
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ItemNo Preview AvailableIf They Build a Wall(GSPF, 2017)If They Build a Wall, was an assemblage of moving image, photography and painting on the decaying Gold-Rush building exterior under bold camouflage. The artwork continues experimentations in the moving image with painting, photography, and compositions on climate. This assemblage is with an ongoing interest in climate devised as camouflage to alert from the street as a platform to accentuate the division of organic materials and the immaterial realms of the projected film. The organically animating lines of the artwork montaging with the decaying Gold Rush building. It alerted to celebrating the lived outdoor environment and was with support from City of Yarra.