Memory warp Memory weft is the title of my upcoming solo show at Arts Space Wodonga August 2019 comprising of current and ongoing work (2017-). Specifically, 9 large scale (55cmx 75cm excluding frame) highly detailed graphite drawings, 3 having subtle painted colour shifts throughout. This series, (pictured) will be accompanied by 3 (180cmx 120cm) hand cut, hand sewn tissue hangings, so delicate and suspended in such a way that upon the viewer coming within range, the piece responds, gently moving in the otherwise still space. These latest hanging works imitate lace work, the cutouts from the tissues will be used to make the further piece, ’For the fallen’.
There will be a further more intimate series of detailed works on paper reflecting the notion that through repetition and the monotonous process engaged, the emergence of past memory or thought is evident in subtle shifts of pattern and gradation.
The exhibition will take advantage of Arts Space Wodonga’s space, leaving considerable contemplative space between each series as each individual work can be quite intense in it’s technical complexity as is the complexity within the fabric of time and memory.
Studies for the void
Studies for the Void is the title of my most recent solo show consisting of intimate works capturing a moment past, a vision, a dream, an imagining or perhaps even a time yet to come. This body of work often shifts from moments of fleeting happiness to work that conveys perhaps darker even sinister undertones, suggesting a happiness cut short and lingering hopeless hope. Works were exhibited at GIGS Gallery, Gateway Island, Vic from April-May 2018.
Weeping Memory (the remains) suggests a weeping upon remembrance, not limited to sorrowful memory, but weeping as a release. A release of memory. We use tissues to weep into and we also use tissues to wipe away our tears. These tear shapes, most often individually cut into the tissue also imply the trace of a once tear. The tissues memory.
The monotonous process of cutting and sewing encourages the emergence of past memory or thought. Sometimes memory is all that remains, and sometimes the memory itself is lost. The idea that presence and absence co-exist is pivotal to my practice, with the view that rooms, clothing, objects can have a physical absence of the body but retain psychological, emotional or spiritual presence. I feel they retain memory of body and this is what I strive to create in my work.
The tissue hangings I create were prompted by perhaps the most moving moment on the day I first walked through the rooms of what would become my future home. Unoccupied since 1978, the house, though abandoned and physically empty, was loaded with history and memory of life, and death in it’s brief time as Chilterns first hospital. In a room with fig trees growing through the floor and broken furniture all over and so obviously neglected, was a torn lace curtain nailed to a window with no glass pane so in all this stillness and silence and abandon a slight breeze moved this lace in and out like a breath. It seemed the room had life still. Years after I saw the torn lace I began creating these delicate hangings out of various fibres, unaware at first these were an unconscious simulation to the laces movement within that room.
I work with tissues for their conceptual value and of their fibrous quality of being so fragile yet so strong. Strength and fragility in my view, is the sum of feminism in which my work practice is often associated with. The cutting out of tears representing a hollowness or void, with the cutting in reminiscent of pain and a scarring perhaps from silent weeping, the weeping of women, unheard cries remaining now only as a memory with their will to carry on. Weeping memory is designed to be like a blanket to cover for comfort and protect and designed like a veil to cover/uncover what is hidden beneath. In it’s finished state, Weeping Memory is about loss, salvage and longing.