PAINTER, SCULPTOR, MIXED-MEDIA
I was a born into, and politicised by, the post-war post-fascism era of Nazi Germany. My artwork is activist in that it juxtaposes and explores the personal, political, social and natural through sharp contrast, reflective surfaces, de/reconstruction, disjuncture and surprise. Juxtaposition as conscientisation is central to my work.
I routinely combine art media to unsettle assumed, invisible and hidden relationships. For example: rusted metal with cuneiform script, the ravishes of bushfire with printed silk, part of the Human Rights Convention translated into Tifinagh, and the use the Berber symbol for a ’Free People’ in the Northern Sahara. I cut things up and reconsider their form through reconstructed media and imagery.
I have two broad approaches to my work. One approach is ‘incidental’, accidental and temporal.
I travel frequently to deserts in Australia and internationally where I work with materials I find locally, use and explore a wide range of art media, take photographs of the artworks, then leave them behind. In this way I aim to contribute to the local context and community. My media is often de-reconstructed timber pallets, rolls of canvas, found plastic bottles, local languages, and the accidental happenstance of the locale I have chosen. For example, emus wandering into the background of an installation that is being represented through photography, or wild wind changing the form of an installation in the desert.
My second approach is studio-based. I work with canvas, photographic paper, fabric, wire, plastic rods and metal, and construct installations, collages, and photographic and melded works both manually and digitally. Many of these works are tactile and enduring. Overall I aspire to being versatile in my use of media and communicative in my practice.
A bstrage is a dynamic interplay of ‘abstraction’ and ‘collage’ using the mediums of photography and painting. I have used Abstrage to represent Australian landscape icons such as Uluru, Kata Tjuta, Painted Desert, with a dual aim to transform perspective and resist the reproduction of clichés. I use a number of techniques. For example,
I meld different photographs manually and/or digitally with images of my own paintings, thus creating original landscapes that reference and express, yet deconstruct iconography. In the process I explore the cross fertilisation of photography and paintings in iconic contexts to produce layered and inquisitive imagery.
Kata Tjuta 2014
In 2005 I travelled to Western Australia. I had been to the desert several times and was taken by its colours. I visited Karinjini National Park and was challenged to find a satisfying visual representation of this complex landscape, other than photography. I began with coloured and textured paper working from memory and my photographs (Karinjini Gorge)