Memory Bags is a new project with the title referencing rather the purpose or action of a bag, the purpose being to carry. It is a carrying of memory, how memory is carried throughout our lives, a holding on, the slipping away, the severe disintegration of memory and the sometimes just as severe, sudden remembrance. The exhibition presents a series of conceptual works that deal with the carrying of memory, each in a specific and contemplative way. One such series, Rocks have memories too (i), illustrates the notion that even rocks have memory and through their geologic composition, rocks hold the memory of this very earth. The materiality of this piece serves as important in that it is produced on calico mineral specimen bags used to carry rocks away. Wall hung in grid formation the final piece measuring 120cmx 170cm, each individual bag illustrates the trace of a single rock suggesting not only is the bag carrying memory itself, but also the retention of the rocks memory of time and place despite it’s removal, a mining of memory. This work is also referencing the relationship of magnetite that occurs in these rocks and magnetite found naturally in the part of the brain, associated with information processing, specifically memory.

A cloth to carry is a series of large format detailed graphite drawings of fabric in varying degrees of weave- how tightly woven or frayed as a metaphor for remembering and forgetting and the continuously transforming shift between the two. Anamnesis and Memoryscape are further series based heavily on the combination of scientific studies, philosophical readings and inspired by the fictional works of authors that deal with memory as subject. This exhibition is an immersion into the oblivion of memory and is as much about the rhythmic and meditative process as it is about the final outcome.

Working across the disciplines of drawing, sculpture and installation, the materiality of each series has been chosen for it’s conceptual value- calico bags, tracing paper, paper, and tissues, sharing a sense of the ethereal. Despite this almost transient quality, it is the working on and working through this materiality with the fine work of nail scissors, needle and thread or lead pencil in a labour intensive, repetitive, obsessive process that in it’s finished state, brings weight to each series, creating tension between the fleeting and the immortalised memory that I believe will speak to the viewer, working as a body of work that commands the space.