Velum

Velum continues material experimentation with edible materials as explored within Formations: New Practices in Australian Architecture 2012. 1 The work employs the central theme of veiling as a ‘second skin’, an intermediary agent simultaneously engaging with Heideggerian themes of ‘nearness and revealing’ (1927, 1954). This second skin creates a liminality distorting everyday objects of popular culture and technological consumption. In doing so, the work puts forth multiple considerations, the figurative play upon consumption itself; the role of the strange and obscure to affect a deepening awareness of our accelerated consumption and experience; and more tangentially, questions surrounding imminent scenarios of hybridity between body and technology. Velum represents a recent focus of the authors’ creative practice, ‘Making Strange’ (Strange Making) published and presented elsewhere. Making Strange explores the sublime process, fundamental to both the final design outcome and the designing experience. The sublime process is seen as a leading, a physiological overpowering of self to a state of intense self-presence, often leading to self-transcendence or state of otherness. As such, the work engages with the body and materials, experimentally and in a trans-disciplinary manner to inform new material practice.

Behagets betydelser : Döttrarnas edukation i det sena 1700-talets adelskultur

By the end of the 18th century the daughters of the nobility in the northern parts of Europe received a quite different kind of education from their brothers. Although the cultural aims of the upbringing of girls were similar to that of boys, the practice of the raising of girls was less influenced by tradition. The education of boys was one of classical humanistic and military training, but the girls were more freely educated. The unity and exclusiveness of the culture of nobility were of great importance to the continued influence of this elite. The importance of education became even greater, partly because of the unstable political situation, and partly because of the changes the Enlightenment had caused in the perception of the human essence. The delicate and ambitious hônnete homme was expected to constantly strive to a greater perfection as a Christian. On the other hand, the great weight given to aesthetics - etiquette and taste - made individual variation of the contents of education possible. Education consisted mainly in aesthetic studies; girls studied music, dancing, fine arts, epistolary skills and also the art of polite conversation. On the other hand, there was a demand for enlightenment, and one often finds personal political and social ambitions, which made competition in all skills necessary for the daughters as well. Literary sources for the education of girls are Madame LePrince de Beaumont, Madame d'Epinay, Madame de Genlis and Charles Rollin. Other, perhaps even more important sources are the letters between parents and children and papers originating from studies. Diaries and memoirs also tell us about the practice of education in day to day life. The approach of this study is semiotic. It can be stated that the code of the culture was well hidden from the outsider. This was achieved, for instance, by the adaptation of the foreign French language and culture. The core of the culture consisted of texts which only thorough examples stated the norms which were expressed as good taste. Another important feature of the culture was its tendency towards theatricalisation. The way of life was dictated by taste, and moral values were included in the aesthetic norms through the constant striving for modesty. Pleasant manners were also correct in an ethical perspective. Morality could thus also be taught through etiquette.

Makt, konst, elit - konstfältets positioner, relationer och resurser i 1940- och 1950-talens Helsingfors

The dissertation examines the power mechanisms and institutional power hierarchies of the 1940s-1950s era arts elite in Helsinki and their influence on issues of taste in the visual arts. For the purposes of this study, the elite is understood to consist mainly of the board members of the principal elected bodies in the field of the arts. The theoretical framework employed is based on Pierre Bourdieu s field theory and the network perspective. The author has examined what the key, pervasive valuations were that governed the exercising of power by the arts elite in issues of taste, involving determination of who was an acknowledged artist and what was good art. The dissertation demonstrates that this exercising of power was governed by certain collective practices which maintained the illusion that the exercising of power was democratic and based on artistic quality. These practices were the corporate system, using artistic arguments in issues of taste, and using networks in the exercising of power. The struggle in the field of the arts was about who ultimately was entitled to define the value of contemporary art; the issue did not arise regarding historical art. Artists managed to gain a leading position as gatekeepers in issues regarding contemporary art. The author discusses a number of conflicts in the field of the arts that highlight the institutional hierarchies and the capital held by the various players. The structural changes that occurred in administration in the field of cultural production in the 1950s led to the separation of bureaucratic competence on the one hand and aesthetic competence on the other. There was a hierarchy in the field of the arts between institutions, between instruments of legitimisation, and between the symbolic and social capital of players in the field. The hierarchy in the arts ultimately depended on how well the elite could influence tastes through the instruments at their disposal. The various instruments of legitimisation grants, purchases, etc. were ranked differently in the evaluation of acknowledged artists and good art. The dissertation discusses what values, in the form of types of symbolic capital, the arts elite embraced and what role these played in the elite s exercising of power, with particular focus on gender, language, region and economic capital. The aesthetic capital of an artist was of only minor importance in the exercising of power by the arts elite. The dissertation further discusses the points of contact between the arts elite and players in other fields, such as the economic, media and consumer fields. When the arts elite, through the Academy of Fine Arts, became an active player in the art market, this led to a hierarchy where the division between acknowledged and not-acknowledged galleries became sharper.

Closed Systems

Closed Systems was an exhibition of sculptural works held at MetroArts, Brisbane in the group exhibition 'Platform 2012' curated by Jan Manton. My contribution to the group show was a series of 13 bronze sculptures, produced using a lost-wax casting process. Each form was derived from a sapling that had been manipulated so that branches and roots were interconnected. The resulting 'looped' forms evoked notions on narcissism, self-absorption and introversion. The works were subsequently exhibited at the National Arts School in Sydney as part of the Kodak Minolta Art Prize (2013).

Memoirs 1920-1960

Education as artist in "Odenwaldschule" and Oberammergau; return to Berlin and studies in the "Kunstgewerbeschule"; emigration to Paris in 1933; artist circle including Max Ernst; flight to Switzerland in 1942; busts of Pablo Casals and Emil Ludwig; emigration to New York; bust of Bruno Walter.

Means are the Ends: The Command Issue

Means are the Ends: The Command Issue (2014) was an exhibition of sculptural works exhibited at LEVEL Artist-Run Initiative, Brisbane. The exhibition playfully critiqued the portrayal of women’s desire in cultural production and symbolic discourse through a focus on fetish sensibilities. Developed during a summer residency, the artworks looked to the rituals, materials and iconographies associated with certain divergent subcultures. Employing strategies of sculptural intervention and appropriation, the exhibition consisted of found objects, which had been deconstructed, altered and intervened; a dildo became a faux drawing machine, a butt-plug a makeshift horn. Reconstructing these visual codes through the formal and theoretical language of contemporary sculptural practice, Means are the Ends: The Command Issue spoke to the problematic, humorous and often paradoxical relationship between depictions of the feminine and women’s desire and agency.

Stand and Deliver

'Stand and Deliver' is an installation integrating three elements; a large-scale fabric work, a series of pencil and ink drawings on watercolour paper, and a lecture performance recorded as a digital video. 'Stand and Deliver' offers a feminist perspective on the archival impulse and utilizes the strategy of Revision to open up new critical directions for feminism’s own histories and archives. It is part of a broader practice strategy to re-perform a subjective feminist archive. 'Stand and Deliver' was developed and presented as a solo exhibition for First Draft Gallery, Sydney in 2014. 'Stand and Deliver II' was revised for the exhibition 'Quaternary', curated by Courtney Pedersen, held at the QUT Art Museum, Brisbane in 2015. 'Quaternary' was included as part of the 'Women of the World' (WOW) Festival, Brisbane 2015, at QUT Gardens Point Precinct.

Towards (dis)Satisfaction

Hosted at Blindside Artist-Run Initiative (Melbourne) the exhibition Towards (dis)Satisfaction (2015) was a re-staging of earlier sculptural works from the exhibitions Means are the Ends: The Command Issue and Crude Tools (2014), Feeble Actions (2013). The forms humorously interrogated representations of gender and sexuality via strategies of sculptural intervention. A stripper’s pole oozes grease from its stainless surface, fluted with holes. A dildo vibrates on a glass tabletop; propped up by simulated testicles, the intensity of the dildo’s vibrations makes the form spin. With its continual circling, the phallus drags Vaseline over the table, performing a drawing and redrawing of a smeared circle. In Towards (dis)Satisfaction fetish is used as an instrumental strategy, employed as a mode to work across different theoretical and material discourses. In the works the play between explicit and implicit depiction creates an ambiguity that has suggestive potency, where fragmentation and dysfunction initiate diverse readings. These material dialogues make apparent the anxiety and desire inherent in the viewer and question how the visual conventions of erotica and art history are mutually informative.

Sepulchre

The work in Sepulchre (2015) came from my research into female ritual practices and my fascination with specific mythological and historical narratives. These themes were explored during a month-long Summer Residency at Boxcopy Contemporary Artspace. Of particular note were the chronicles and rituals from the terrain around the Adriatic Sea, including Greece and Italy. During the residency, I kept referring to specific mythological texts, which had women as the main protagonists. I kept returning to female characters whose representation was framed by aspects of their sexuality. When looking at these women together, they seemed to sit within a greater narrative archetype, a communal dialogue of shared characteristics, repetitious narrative components and mutual landscapes. Sepulchre became my attempt to develop a conversation between these women by drawing from their commonality, and reimagining these collective elements into sculptural objects and moving images. The video explores an apotropaic gesture, a Baubo-style ‘flashing’. A glass star chart rests on white cliffs, speaking to the narrative of Andromeda and her position as both a celestial and terrene landscape. Another object, a wall mounted copper light burst, pays homage to the framing device used by Gian Lorenzo Bernini in The Ecstasy of Saint Teresa. By reconciling these dialogues, I was interested in exploring expanded portrayals of female sexuality and depictions of subversive and authorial femininity, developed through connotations with mysticism, ritual practice and women’s knowledge.

Running Men

In this multi-screen installation, iconic male characters from Hollywood films are reconfigured to create infinitely looping scenes of running; trapping the characters in a kind of Nietchzen eternal recurrence. Stemming primarily from my investigation into anxiety as a shared social experience, the carefully edited, looped, and rotoscoped characters become avatars or surrogates for myself, and for the viewer. Through this editing, they are caught in a space of relentless confusion and paranoia – they run with, and from, anxiety. They are never caught by any unseen pursuers, but are equally unable to catch up to any unseen goal. These figures act as models of masculinity, they are objects of identification and emulation. Simultaneously, as celebrities, they are also fictions of the media sphere, both real and ethereal, they are impossible to grasp. In this duality, the work also references cinema’s tangled conflation of character and celebrity identity. It examines the subjective and intersubjective engagements we can have with popular culture, and the way that these engagements can as strategies to ‘make sense’ of social experiences. The work was exhibited in the Carriageworks space of ‘You Imagine What You Desire’, the 19th Biennale of Sydney.

Zarathustra’s Cave

In 'Zarathustra’s Cave' the iconic apartment set from 90’s sitcom 'Seinfeld' is presented devoid of actors or action of any kind. Instead the ‘apartment’ sits empty, accompanied by the ambient noise of the screen-space and the distant sound of city traffic. At irregular intervals this relative silence is punctuated by the laughter of an off-screen audience. Unprompted by any on-screen action, this spontaneous audience response ranges from raucous fits of cheering and applause to singular guffaws and giggles. The work is the product of a deep engagement with its subject matter, the result of countless hours of re-watching and editing to isolate the aural and visual spaces presented on the screen. In its resolute emptiness, the installation addresses the notion of narrative expectation. It creates a ‘nothing-space’, where a viewer can experientially oscillate between a sense of presence and absence, tension and pathos, or even between humour and existential crisis. The work was first exhibited in ‘NEW14’, at the Australian Centre for Contemporary Art in Melbourne.

Spectral Values

This series of drawings takes a diagrammatically creative approach to understanding the economic theories and personalities at the centre of the Global Financial Crisis. Mimicking the form of US currency, the work removes labels from common economic diagrams and portrays financial titans in repose as a way to express a personal and ambivalent experience of contemporary capitalism.

Animal Spirits

Animal Spirits is multi-channel video portrait of key personalities involved in the Global Financial Crisis. The four-screen installation displays these twelve decapitated apostles of free-market economic theory in a tableau of droning pontification. Trapped in a purgatorial loop, they endlessly spout vague and obfuscating explanations and defenses of their ideologies and (in)actions. The work takes a creatively quotidian approach to understanding the language of economics and the financial services industry. Through its endless loop of sound, image, and spoken text, the installation examines some of the ideas, narratives and power dynamics that foster and reward hubris and greed.

Kafka on the Shore

Kafka On The Shore consists of three simple concrete letterforms floating on a gallery wall. Reminiscent of minimalist sculpture, the mathematical expression of the letterforms states that ‘r’ is greater than ‘g’. Despite this material simplicity, the solemn presentation of the formula suggests a sense of foreboding, a quiet menace. The work was created as a response to the economic theories of Thomas Piketty presented in his book Capital in the Twenty-First Century. The primary finding of Piketty’s data-driven research is the formula presented by the work; that historically, wealth and inequity both flourish when the rate of return on capital (r) is greater than the rate of economic growth (g). With this simple mathematical summary the book acts as a sobering indictment on the present state of economic inequality.

Trickle Down

This work expresses the complicated and cyclical sense of economic aspiration and ambivalence so prevalent in the lived experience of contemporary capitalism. The three-channel video animation depicts a single US dollar bill falling in a dark void-space. These fragments of negotiable value, evidence of a laborious hand-drawn process, tumble in slow-motion into and out of each video frame, towards an unseen ground and uncertain future, acting as an elegiac expression of a deep sense of economic precarity.