2017 – Churchie National Emerging Art Prize, Queensland University of Technology Art Museum, Brisbane

Thinking about our Western romantic views of landscape in the context of rapid environmental change has led me to examine the precarious relationship between ourselves and the physical world, and the ensuing tensions around balance, stability, containment and permanence.

Through exploration of former industrial sites which have a relationship to water and are listed under the Contaminated Sites Act, my work plays with ideas of material and industrial failures; and a makeshift aesthetic contradicts industrial form and scale. The inclusion of site specific soils and waste, and the process of layering, act to document a site yet disrupt identification with place.  The works manifest an expressive and destabilising counterpoint to industrial certainty.

The Natura Morta work is based on a site undergoing remediation to avoid water percolating through the soil and carrying heavy metal contaminants into the water table.  The title and installation directly reference Giorgio Morandi’s series of still life paintings.

 

Installation images of (top) Natura Morta: -31.915099, 115.927288 (2017), concrete with site specific soil, copper, lead, aluminum powder; and (below) Fundamentally Unstable (2016), concrete with site specific soil, paint, polyurethane foam, lead, aluminium powder, copper.