Brittany is a multidisciplinary artist based in Western Sydney on Darug land. Her art practice currently presides across the mediums of textiles, painting and ceramics, with a keen interest in constructing large-scale installations/environments. Her works react to the capitalist structures of fast-paced life, placing importance upon slow making and tendering techniques like hand sewing, dyeing, washing, cooking and foraging. With this focus on slow making, Brittany's works foster connections between the mistakes and irregularities of the hand and how this allows for contemplation and mindful release. Along with this mindfulness, the artist acknowledges a consciousness of the environmental impacts of art, actively engaging with strictly biodegradable materials in her large-scale textiles to ensure an established life cycle and ephemerality to her final works.
Reaper, 2022. Natural dye on silk, soil. 200 x 140 cm.
Reaper navigates national discourses of biosecurity and bush regeneration, shifting common ecological dyeing values from careless collection to mindful removal. The tapestry is a collaborative work that explores a variety of strictly invasive plants, foraged with the artist's bush regeneration friend Cailee Stainthorpe. The systematic removal of these species, that threaten our native ecologies, is both environmentally beneficial and artistically valuable. Their vast spectrum of colour, achieved through natural dye baths, is held within the protein fibre of silk strips and presented like a linear narrative, to allow for dynamic visual comparisons to be made. Reaper spotlights Japanese shibori inspired resist dyeing methods, creating an array of interesting surface patterns and planes of saturated colour. It was meticulously constructed through hand sewing begging notions of slow repetitive textile making traditions with a large focus on the visible trace of the artist's hand. The work celebrates imperfection and heroes the creative ramifications of chance. The uni-fibrous qualities of this mono-material allows for the entire work to be completely compostable and therefore biodegradable which is conceptualised through the dirt accompaniment. The path of soil not only signifies the humble origins of each plant species but also suggests ideas of textile circularity, encouraging the fabrics return to the earth for its final stage of life as a compostable entity.