#eye #eye

Emerging Writer Award

︎ @lachie.t_

My writing practice takes heavy influence from my studies in Sociology. While I refer to a specific writing practice, I try to view my art and writing practice as interconnected and, ultimately, the same. My practice is often informed by viewing materials and thinking as socially and culturally active, with a past, a present and a future. Extending from this, the bringing together of objects, materials and thinking (which is also a process of making), is a contribution to the social/cultural lives and histories of these materials and thoughts. Alongside this, I try to view my practice as a mode of knowledge production that is socially active in its own right and can thus be viewed reflexively through its own methodological scope. As I develop my practice, I wish to further integrate writing, research, photography and sculpture, practices which I have kept separate in the past. As well as this, I hope to work through new means of knowledge production via methods such as poetics, active reading, making and experimentation. Finally, I aspire to move towards more collaborative practices, whether this be in making, thinking, installation or research.

A Speculative History of the Fox Hunt

A Speculative History of the Fox Hunt (2022) was part of a larger work in a group exhibition at Blenheim House, which was built and occupied by the first mayor of Randwick.
The method of this work takes inspiration from Raymond Williams' "Structures of Feeling" where expressions of social experience, thinking and artifacts can be actively 'read', bringing them into a different and generative context. The text's starting point is a single line in the available histories of Blenheim House: "Blenheim House was also the site of the last Foxhunt in Sydney". In examining and taking from cultural and historical accounts of the Fox and fox hunts in Australia, an alternative and speculative history begins to emerge.
While the text takes the form of an essay, I hope that the process it comes from, written alongside making, experimentation and installation, brings about aspects different to that of a formal essay.
Finally, I intend for the work, in its speculative nature, to run alongside the characteristics of a hypothesis. This positions the work as inherently incomplete and non-committal. It is forever open for correction, further contribution and comment.