Nanna Cares What Britney Wears 2
Nanna cares, oh nanna cares, please tell me that your nanna cares!! If nanna expressed her thoughts on young women in the media and their effectiveness as role models, how would she go about it? Would she stage a protest against overly skinny starlets outside her newsagent, claiming they were the dirty pushers of the size o utopia? Or perhaps write a letter to the local newspaper about Lindsey’s bad driving?
I think maybe nanna would get nice and comfy in her favourite chair, throw rug adorning her frail knees, pull a square of aida cloth from her craft bag and masterfully stitch us a soliloque on the subject.
This work follows representations of the fold, such as those found in origami, and develops a process about working through notions of abstraction in an attempt to identify a new space. Something between 2D and 3D and ending up somewhere in the 4thD. The figurative elements hide amongst geometric abstractions and appearances, deliberately distorted by choosing either a disparate colour or extending a shape beyond its logical bounds. These maladjustments create a sense of unease; just when you think you have figured out the composition and how it fits together rationally, the image flattens itself out and becomes two dimensional again.
We vomit, volcanoes erupt, pimples get popped. Ruptures are always emerging in one place or another.
Amelie Scalercio's practice stems from investigations into order, disorder and the anomalies embedded within such systems. Using symmetry and repetition of form attempts are made to maintain order in a system. There is a continuous attempt to preserve the ordered system but the presence of deviations is always evident. An interest in how and where anomalies occur within order/disorder is explored in the rupture drawings. Such deviations demonstrate the failing of an implied order. They expose the constant presence of the potential for failure within systems. It suggests that these departures have not yet been defined as ordered or disordered.
Convent studio artist program
Give your God fifty dollars for me
Micheline Yoke Yean Lee
Lee re-assesses facets of family history and her Chinese Malaysian heritage and migration to Australia in a quest to make sense of the “self”. She explores the psychic and mythological terrain of the events depicted in her works. Conjured up are ancient curses causing disability in her family, confrontations with ghosts, remembered renderings of the Penang home and the conversion to fundamentalist Christianity on arriving in Australia. The works reflect a fusion of eastern and western influences- traditional Chinese brush painting presented on ceremonial banners are combined with digital imaging, and childlike storytelling is infused with contemporary Western interrogation and black humour.