Selected works
2017-2021
‘CLean Slate’, 2021
This piece was created in response to Modern Times’s exhibition re:coquo for Melbourne Design Week 2021. Expanding on the broader Design Week theme of ‘Design the world you want’, re:coquo participants were invited to examine existing work, material or unresolved ideas and revisit the broken, forgotten or discarded with the aim of creating something anew.
For re:coquo I cast a net through the studio to sieve out all the half cooked work with the intention to build a singular plinth-like object. Rolled into these cast aside, half baked works are hours and hours of time and labour with no resolution. For me this process of collating and assembling lingering works into something greater, something collective, is like releasing them from a purgatory state. Layered together as if constructing a cake, rocks are sprinkles and plaster is frosting.
Currently available for purchase at Modern Times
Plaster, concrete, aerated concrete, concrete sheet, rocks, tiles, Oregon, stones, American Oak, MDF, ply, various foams, string, wire, canvas, acrylic, Apoxie Sculpt, putty, wax, glue, silicon, rubber
Dimensions H: 800mm W: 600mm D: 340mm
Photography: Elisenda Russell
‘I Cement What I Said’, 2020
Chromatic Retreat, a group show showcasing the work of 17 Australian artists exploring their practice within the limits of a largely achromatic palette. I find it hard finishing work- stepping away, declaring that you’ll do no more. Occasionally works are difficult and resist getting to this point, pushing back on the full stop you’re hoping to put down. That struggle, that challenge is mostly welcomed - this work has followed me around over the last few years, it’s incompleteness hovering like a shadow. It occasionally called to be revisited on and off, tentatively adding layers. In this case it is the act of removal or the taking away, stripping back almost all of the colour made getting this work to a point of completion achievable. There is a through-ness, a peeling back that is made possible, black, white and grey turn shadowy as if to momentarily move or slip off the surface.
Clay, Plaster Cement, Putty and Acrylic on Timber - Dimensions H: 500mm W: 410mm
‘Leave Me Alonely’ and ‘Leave Me Alonely, More’, 2020
These pieces a part of Talismans, Rafts, Mementos: a group exhibition showcasing the work of the entire community of Modern Times artists. Throughout 2020 artists used their practice to make sense of what was happening, and this show celebrates this rich vein of creative output.
These works slip from pleasing to grotesque as quickly and as often as my mood changed while making them. 2020, the year that is never-ending and simultaneously flying by. A process of making that is both fast and slow, considered and impulsive.
Timber, Plaster, Clay, Acrylic, Putty - Dimensions H: 270mm W: 190mm D: 35mm
‘Slim Chance’, 2017
Massage involves working and acting on the body with pressure. The presence of a human body on a massage table, as a constructed situation forces us to experience somewhat objective relaxation, and we lean into it, cherishing the stock image frangipani wallpaper and overwhelming aroma that veils the body odour of strangers. Massage Therapy surveys this notion in a corporeal and theatrical sense, as a conduit for contemplating how spaces or interactions can be fabricated to invite a sense of not-necessarily-genuine intimacy. How far can the giver go in helping the receiver get there, and under what circumstances are we prepared to be seduced?
Massage Therapy, Group Show at Kings Gallery Curated by Clare Longley. (Clare Longley, Gian Manik, Honey Long, India Salvor Menuez, Isabella Connelley, Jerome Jabari, Loralee Newitt Prue Stent, Ro Noonan)
Found exercise ball, clam and wire, Apoxie Sculpt, dust - Dimensions Variable
Photography: Aaron Rees
