My practice takes heavy influence from my studies in Photography, Sculpture, and Sociology. I have mainly based my practice around photography, however, I hope that via the process and iterations of Through Bushes, Under Fences, Past Boundaries (2022) I can work at bringing together practices of research, photography, writing and sculpture. 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. Through Bushes, Under Fences, Past Boundaries arose from researching Foxes, which led to thinking around private property and occupation, then leading to physical making and then back to research. Making sense of what is found and what arises through research, calling events and archives into a different context. As I develop my practice, I hope to further integrate writing, research, photography and sculpture, practices which I have kept separate in the past. As well as this, 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.
Through Bushes, Under Fences, Past Boundaries, 2022. Mixed Media. Dimensions Variable.
Through Bushes, Under Fences, Past Boundaries (2022) started from thinking about the figure of the fox. Looking to cultural representations which surround the fox, as well as its position within so called Australia, they seem to hold a tumultuous relationship to private property and the order of things. The fox could possibly be a figure of resistance and refusal; however, it must also be remembered as a predatory settler. The process of making Through Bushes, Under Fences, Past Boundaries is 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 their social/cultural lives and histories. Through making, fence posts, wire and materials that construct/uphold boundaries are appropriated to try and trouble their proposed function. A star picket holds a photo, a chalk line becomes sculptural and a plumb bob now points. Alongside the fox, the knot arose, via the process of making. The knot becomes a kind of motif within my thinking, something that holds materials/borders together. It can be seen as part of the materiality of division, boundaries and exclusion. Most importantly, a knot is made or tied, and with this comes the possibility of untying. This potential for undoing or moving through a knot is where the hopes of this work lie.