My practice is a combination of painting, drawing, sculpture and fashion. For the past two years I have focused on discovering my own personal cultural imagery for Australia by using objects obtained through the act of op shopping. These items to me are a source of Australian cultural imagery in the form of expended goods and act as a direct representation of our material culture. My researched is based around three main areas, these being WRONG/HUMAN ERROR, OP SHOPPING (REMIXING AND SAMPLING) and AUSTRALIAN FASHION.
For me, the idea of the ‘bad’ or ‘wrong’ stems from the occurrence of the technological glitch. I’m interested in the haphazard effects of the computer glitch and the interesting imagery it produced as a consequence. I am also curious in comprehending ideas of chance and synchronicity. These I believe shared a similar arbitrary theory to glitch. Aside from the technological occurrence of glitch, I find the idea of human glitch or human error another interesting phenomenon. I idolise ideas that are generally perceived as wrong or bad things that humans have created. Things like infomercials and Danoz Direct, fake Bathing Ape from Thailand, Side Show Alley at the Royal Adelaide Show, excessive plastic surgery and most importantly the genres of Kitsch and Australiana.
I realised that most of these relics (in which represent the victims of humans need for instant gratification) ended up in second-hand shops, so this is where I solely source my materials and imagery from for my work. As I am a seasoned op shopper I began noticing certain objects and items popping up on a regular basis, things like tourist t-shirts, mounted photographs of celebrities, craft projects, sport gear, floral grandma frocks, silk gowns etc. To me these directly represented the rejected and unwanted mementos of Australian society in the 21st century, that, even though discarded, are still functioning and existing in the world. .
The process of sampling, remixing, splicing and re-inventing new work from these materials acts as a means of glorifying the low-fi, debased contemporary Australian kitsch culture and gives these items a new context and existence in the world.
The use of fashion in my work comes from the prominence of clothing in op shops and also my own interest in fashion as a medium in art. I believe clothing offers a relational and transformative strength. Relational in the sense that it merges the formats of the gallery and the street, while blurring the boundaries between art, design and craft.