Wednesday, 3 February 2016

Interwoven strands: language, culture and identity

As a first generation Australian-Pole, I grew up in a bi-lingual home with Polish and Russian spoken as frequently as English. Subsequently, themes surrounding transplanted eastern European narratives often appear in the conceptual and feminist framework that underpins my conceptual studio-led practice. 

My practice currently has two trajectories. They are as follows:
The first is my Museum of Fathers. This self-directed project functions as a formal museum in my imagination. While the Museum of Fathers has no formal physical home, it now has a collection that now numbers some 60+ artefacts. Artefacts include objects, blind embossed prints, photographs, mixed media works and performance. My employment history with art and museum collections (AGNSW, ANMM, CoFA and UNSW Art Collections and White Rabbit) and with major art events (Biennale of Sydney and Kaldor Public Art Projects) informs my practice and the scope of my ambition for my museum. My works are often mis-en-scènes for both museums and domestic settings and are titled in a mix of the conventions of collection registration and of family law documents. The ongoing aims of this project are to explore constructs of gender and fatherhood.

The second trajectory is based around experimental carto-autographical drawings. These drawings hover gently between firm definitions of drawing and sculpture. Example: Die Papageien[1] (trans: the Parrots) drawings have been purposefully conceived to occupy both the wall and the floor when exhibited. I am interested in how these experimental drawings, in addition to more formal floorworks, mark the beginnings of space and the universal experience of being. As the floor is what separates and joins us to the earth, it is also a loaded zone of connection and loss. In contemporary urban city spaces we traverse a variety of metaphorical and material floors, such as pavements and laneways, on a daily basis. The floor is also a border space and a marker of our temporality. The floor also physically marks the beginning of agency.

[1] This suite of drawings is directly inspired by the green parrot that appears in the mid sections of each panel of Albert Tucker’s Arrival at Coopers Creek I-III (1968) which is held in the AGSA collection, Accession #: 993P15; 20012P4; 20023P13.

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