Previous work till now and onwards…   

Processes project

In this practice I had hoped to understand objects and placements through ‘arrangement’ and the ‘assemblage’, whilst in process, allowed me to think of visual narratives. It is important that I use the term ‘in process’ as the final product was/is, although not expressly mentioned in my blog, nothing more than documentation. Emphasis is, naturally/organically, in the understanding of my work as it is build.

Interest in work that ‘sculpts’ me.

we can project our own meanings onto objects as much as we like, although, unless we interact with these objects physically and or try to start a dialogue based on the object we cannot understand them. My example approach varies day to day, it is consistent so long as I am physically placing the objects in the space, this is my ‘flow’, performing a task from unconsciously arranging to consciously adjusting.


“flow is completely focused motivation. It is a single-mindedimmersion and represents perhaps the ultimate experience in harnessing the emotions in the service of performing and learning. In flow, the emotions are not just contained and channeled, but positive, energized, and aligned with the task at hand. The hallmark of flow is a feeling of spontaneous joy, even rapture, while performing a task”. (Emotional Intelligence: Why It Can Matter More Than IQ, 1996)

My previous work, Staring Box Triptych and work shown is this blog are influenced by the work of assemblage artists, Mark Dion, Annette Massager and Joseph Cornell. they attempt to transport audiences to another dreamlike world in which we challenge our understandings giving the impression of study involved, study into the process of making and into the materials arranged inside it. 

 To possibly reflect someone’s personal comprehension of how the object works into the world of the personal imaginary. In the Staring Box Triptych work there is imposed on it the historical ‘triptych’, a phrase typically associated  with paintings that are divided into three sections and can be folded, the works usually are linked to each other, Hieronymus Bosch, for instance, painted allegorical fantasy, landscape and religion into his triptych works, these paintings were unarguable linked both with style and the subject matter painted within them. Mark Dion uses the ordering, collecting and displaying objects as an analytical/scientific method in service to the discourse between ‘dominant ideologies and public institutions [of which] shape our understanding of history, knowledge, and the natural world. ‘Dion questions the authoritative role of the scientific voice in contemporary society’ (Tanya Bonakdar Gallery, 2016). Annette Messager a collector and artist ‘whose extensive body of work over four decades encompasses drawing, photography, needlework, sculpture and installation’ (Museum of Contemporary Art Australia, 2014).  The works themselves tell her stories, which are both very heart felt and very personal. The use materials such as clothing and yarn, stuffed toys, and synthetic hair ‘all…reworked by the artist to unsettling effect.’ Her choice of materials and interest in the artist as the outsider are of particular note to me as well as, and even more prominently the values allocated by her decisions made in piecing these works together. Intentionally I revisit this in my Practices Project, the purpose of this blog. Joseph Cornell (Royal Academy of the Arts, 2015) ‘forcefully’ ‘recreate[s]’ a dreamlike cultural impression of a place transposing the cultural onto the physical. His work gives dominance to neither the visual qualities nor the narrative qualities of his work to create a balanced and condensed whole ‘[it creates its] own autonomous visual experience, with its own natural laws and its climate’ (Reported Sightings, 1989). A practice I would hope to utilise in my projects ongoing.


Influences, and resources:

Emotional Intelligence: Why It Can Matter More Than IQ, 1996,

Tanya Bonakdar Gallery, 2016,

‘The Outsider’ – ‘Not all of us can say we are artists, forming something from nothing, sometimes WITH nothing. The artists exhibited here are being artists. And we are proud to tell the world of them and show their work.’

Museum of Contemporary Art Australia, 2014,

Royal Academy of the Arts, 2015,

Reported Sightings, 1989,

Previous work till now and onwards…   

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