As we are constantly reminded by popular media, developments in biological technologies stand to revolutionise our experience of being human. This continual bombardment of ideologies of technological supremacy place us continually on the brink of the ‘future’. These ideas preoccupy my ongoing art practice, exploring the transformative potential of biological matter in humans and the wider environment.
‘Indoors’ is an exhibition of still life paintings exploring the use of subtle gestural distortions in representational imagery. These paintings depict singular objects placed on surfaces or lying against a wall. The subjects are everyday things cluttering the studio, given unusual attention through observational painting. The solitude of each object encourages an empathetic reading of the works, while their scattered installation suggests possible relationships between the painted objects.
The same uneasiness with which opera has historically portrayed non-Western cultures still echoes in today's mass media. Armida is a multimedia installation that explores the asymmetries of race, gender and religion between the West and the Muslim world, depicted since the Middle Ages as a perpetual unknown, always exotic, sometimes a threat.
I am bounded by the curve, entirely and in parts
I am swept up in Algebraic rhythm, without understanding
Pain chords sweep me and I am a well in motion
I am yearning to be deep within my photographs,
unable to keep edges in focus,
falling corners, jerking thighs, protective gesture
My body is a closed book and I am the hand the covers the womb.
Of sampaguita, ilang-ilang contains narrations and reinterpretations of the sampaguita wreath - a common object and persistent industry found throughout the Philippines.
In fine white thread, sampaguita and ilang-ilang flowers are strung together to create fragrant garlands with practical and spiritual functions. They are most commonly peddled to people in transit, walking or in cars, and hung over rear-view mirrors or religious statues in homes and churches.
Working remotely from their locations in Laguna, Quezon City and Melbourne, the artists will respond to the meaning and value of the sampaguita and ilang-ilang as they are carried from place to place through the exhibition.
Invisible Bridge brings together four artists, with overlapping investigatory concerns, working in the area of object-based sculpture.