Pixel Hanky 2
The Pixel Hankys are assembled using compact discs and DVDs rescued from landfill. By fragmenting the discs and meticulously assembling them into new forms, reminiscent of opulent fabric, I ask audiences to consider the transience of ‘value’ in a rapidly advancing world. The glittering interventions beg the questions, “What do we do with the leftovers of technological advancement? How do we reimagine the obsolete relics left to us by generations past?”
5 year work, in progress
Bee Church is an on going, long term project. I am collecting thousands of dead honey bees and preserving them each in a single, perfect sphere of crystal resin.
Bees operate in swarms of thousands, and so it's easy for us to detach from the preciousness of each individual bee. The issue of declining bee populations feels far off, it's easy to dismiss them as 'just insects' that live by the thousands and die by the thousands. Disposable, faceless.
By immortalising and magnifying each individual bee in a frozen moment after her death, I ask audiences to look closer and be taken by the intelligent beauty of the single honey bee. Audiences are also made to pause and ruminate on each bee's passing. Each sphere is a tomb, a memorial, a silent eulogy for the hard-working honeybee.
The final structure, consisting of thousands of these spheres, will then amplify the immensity of the crisis. Thousands of individual tombs will be hung from the ceiling to form a whole new, daunting structure that audiences will be able to step inside of and contemplate from within.
The long term nature of the project asks audiences to consider the time and focus that I have given to perfectly craft each sphere for each bee. I will be executing this entire project by myself over the next several years. I have collected dead honeybees from bee keepers around Sydney. I am hand making the silicone molds used to craft the resin spheres, and hand pouring each resin sphere myself. To give you an idea of the time needed for this: it takes 8 hours to set 10 spheres. An analogue, human connection is maintained with each bee as the structure comes to fruition. This is a deliberate inversion of the industrial methods aimed at efficiency and mass production that have lead us to detach from, and destroy the natural ecosystems around us.
Honey When I’m Not With You, I Feel Like I Can’t Breathe
Ephemeral Installation. Mirrors, Bee Remains, Crystal Resin, Fresh Flowers
A huge thanks to Illawarra Coatings, resin sponsors of this project. It would not be possible without your generous contribution.
4 metres x 2.5m hanging chandelier. Synthetic hair, chain, pvc pipe, satin, faux fur, with interactive sound and light systems.
Inspired by untold moments of female aggression, Muffy is an interactive and multimedia monstrosity that engages all 5 senses of her audience. She is dedicated to the stifled and subdued thoughts and feelings of frustrated women.
The hanging chandelier, with her obnoxious pink fur and gold chains, sublimates society’s contradictory, confusing and ever-changing expectations of how women should look, behave and speak.
From the outside, she appears ornamental, bold and majestic. A warbling soundscape radiates from her tiers. Familiar and nostalgic voices from popular culture coo melodic instructions on how to be a good woman, how to be popular, how to be happy. Hair brushes chained to the floor circling Muffy's edges invite audiences to groom her. The audience member connects with Muffy, performing one of the most intimate of human exchanges, and at the same time becomes complicit in her harassment. Does she not just want to be left alone?
Only once you come closer, and step inside Muffy's centre do you discover a secret world. Her unnerving breath reverberates around the claustrophobic chamber - revealing her repressed emotions. Muffy's lights, at each of her 8 candelabras, flicker in time with her laboured breath.
Muffy was designed and built with help from Andreas Lohmeyer, with sound design by Freudian Nip, and tech design by Caitlin Lomax.
Muffy was created for 'Untold 2018', a group exhibition of immersive installations created by 25 Australian and International artists, held in Melbourne's iconic Nylex Building. Proceeds from artwork, print and ticket sales go to the Reach Foundation.