7 Skins (Before Envious Time has Fled)
The driving force behind this body of work was primarily the exploration of the symbiotic relationship between medium and surface.
The work explores possibilities and tests limitations offered by 7 chosen skins: canvas, wood, pigment, ceramics, paper, textiles and metal leaf.
The same motifs; Gum nuts, Golden Penda Flowers, Banksia seedpods, Paperbark leaves and Lotus, appear and reappear in different forms across different surfaces. Large-scale batik and painted works combine tonal backgrounds with selective areas of vivid and detailed colour displayed alongside works on wood that layer screen printed patterns and beautifully painted fragile forms with metal leaf details.
Ceramic work utilises some of the same digitally created patterns through the use of stencils and wax resist techniques combined with sgraffito (lines scratched through coloured slip).
A series of works inspired by paper Bark leaves, submerged and floating, taken from studies produced during trips to Goose Lagoon at the Territory wildlife park. These leaves appear in several forms, large and small scale painted pieces, some incorporating photographic silk-screen layers, and also in a ceramic chandelier installation that brings in the added elements of light and sound.
The choice of native plant life is a symbolic reference to the still life tradition ‘memento mori’ (remember that you are mortal). The flower in bloom represents life at its peak before death becomes inevitable, the seedpod symbolises new life and fertility.
The driving force behind this body of work was primarily the exploration of the symbiotic relationship between medium and surface.
The work explores possibilities and tests limitations offered by 7 chosen skins: canvas, wood, pigment, ceramics, paper, textiles and metal leaf.
The same motifs; Gum nuts, Golden Penda Flowers, Banksia seedpods, Paperbark leaves and Lotus, appear and reappear in different forms across different surfaces. Large-scale batik and painted works combine tonal backgrounds with selective areas of vivid and detailed colour displayed alongside works on wood that layer screen printed patterns and beautifully painted fragile forms with metal leaf details.
Ceramic work utilises some of the same digitally created patterns through the use of stencils and wax resist techniques combined with sgraffito (lines scratched through coloured slip).
A series of works inspired by paper Bark leaves, submerged and floating, taken from studies produced during trips to Goose Lagoon at the Territory wildlife park. These leaves appear in several forms, large and small scale painted pieces, some incorporating photographic silk-screen layers, and also in a ceramic chandelier installation that brings in the added elements of light and sound.
The choice of native plant life is a symbolic reference to the still life tradition ‘memento mori’ (remember that you are mortal). The flower in bloom represents life at its peak before death becomes inevitable, the seedpod symbolises new life and fertility.
