Retrieve, Retreat 2019 – was an installation of local and foreign re-positioned constructs, exhibited at the Coal Loaders during the North Sydney Biannual Art Prize.
Flags, logos, icons, signs all produce empathy and sharing, and all generate bond. This work is conceived as a gathering of the vessels. They contain physical documents and are displayed as a contemplative array of bodily islands (islands within islands). A contemplative structure speaks of an awareness into the processes of acquiring, through the metaphorical acts of excavating and unearthing, as well as, acts of reconstruction. This process also examines the Japanese notion of ‘mono no aware’ or ‘the pathos of things’.
My artistic process is deeply influenced by my surroundings; rather than being defined by a particular medium, many of my projects are linked by the platform of free re-construction: A concept that draws from all the available resources around us, re-positioned, and inspired by the building tactics of the people living on the islands in the Seto Inland Sea, Japan, where I also live. This understanding of the need to form arrangements in relation to what can be obtained underscores my practice. This approach is incorporated as a form of inventive improvisation which presents change as a permanent state arising from the chaotic and fragmentary nature of the everyday. These inquiries have led me to explore my own origins and to collaborate with family and friends in a very personal form of research that results in a constant process of learning: About materials, landscape, people, and myself.
Through sculpture, painting, drawing, installation, and photography I reveal a close and constant engagement with the material world, immersing myself in the ongoing re-construction and transformation of personal and collective identities. Using a wide range of collected objects, my sculptures challenge the traditional conceptions of art making; while my paintings and drawings are marked by a keen depiction of repetition and a strong sense of elapsed time —instilled in me from my early training as a house painter, landscaper and gold digger. Parallel to my artistic production, I have cultivated writing as an investigative tool of self-analysis that merges history, criticism, and fiction. My texts about art, politics, and culture are a layer to be added to my aesthetic practice.