linen, textile inks, acrylic paint, woven labels, thread
approximately 166 x 97cm, 163 x 108cm and 165 x 111cm plus straps
This work consists of 3 panels of Belgian linen fashioned into aprons and yet hung on the wall as unstretched paintings. These objects appear here in a state of arrested development in a series of phase transitions and are but part of a larger, cyclical process involving, use, display, wear and repair. The surfaces of the linen (high quality painters canvas) are stenciled with phrases such as ‘INVESTMENT PIECE’ and ‘CENTRE FRONT’ in a blocky De Stijl style typography and shapes (a swimming pool, pockets, straps, fat hems, labels with the makers name and a price of $1,000,000) that are suggestive of the connections between painting (geometric abstraction) and apparel (workers aprons) and the global circulation of capital and material. There is a disregard for the hierarchies of material use, methods of manufacture, and value ascription gently pointing to the absurdities of the human desire to label and categorise.
As an exhibition maker, researcher and co-producer of objects I take a responsive approach to the provocation of materials attending to their haphazard agency. This involves participation in wide-ranging cross-disciplinary activities where process determines the outcomes and digital media is utilised to track form in transition as one thing becomes another. However, as recuperated, left-over and found materials are tended to, incrementally, there begins to emerge an increasingly austere aesthetic procedure that seeks to ‘bother’ matter less and increase soft-eyed attentiveness. Recent works appear in a cycle of oscillating movements between stretched and hanging cloth, including aprons described as ‘paintings’ in the form of apparel. My practice is permeated by a vigorous mistrust of the genres, categories and conventions that art itself forms of art or indeed craft itself forms of craft.