The White Columns Curated Artist Registry
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STATEMENT OF WORK
Through videos, drawings and sculptures, my work explores narrative fallacies that complicate the viewer's understanding of the author's subjective truth. Frequently borrowing from the aesthetics of low-budget television, my videos centre around narratives based on my own family or people I have known, and are re-told by exploiting elements of storytelling to create works of fiction that allude to the personal. The stories' biographical fallacy is then furthered by the use of a stand-in narrator, whose presence contributes to a mechanism that I refer to as “the estranged voice.”
My drawings frequently borrow from images found in text books and manuals from the 1970s and 80s. The characters depicted portray a sense of the uncanny so that the viewer recognises aspects of themselves or others, thereby adding to their voyeuristic discomfort. These sinister depictions are always presented with a sense of dark humour, creating an intricate balance so that the viewer feels both repulsion and compassion. I wish to extract an awkward laughter in order to explore the tensions between what is funny and what is stark and confrontational.
More recently, I have begun to draw from “real” situations, such as nude life model classes. Although the nude figures feature centrally in the images, the convention of life drawing is disrupted by the inclusion of my fellow participants who are situated in the background. Humour derives from the awkward tension between the clothed participant’s penetrating gaze, and the nude model that appears to ignore on-lookers by staring in the opposite direction or back towards the viewer. In these works, my own performance is implicated through my participation as a member of the audience, allowing the other bodies to serve as stand-â€ins for my own.
My sculptures feature ceramic wigs, balloons and gloves that are rendered flat, as though cast aside. Despite their obvious reference to costumes and disguise, the wigs and gloves become un-wearable in their concrete copies. These clay versions suggest a kind of relief sculpture that is figurative, yet deflated and absent of human form.