June 22, 2016 (8.30am – 5.45pm). 2016, chalk and sugar soap on wall
Vibrate at your highest frequency. 2016, digital projection for FELTdark
Viewers interacting with Vibrate at your highest frequency on opening night. Images by FELTspace and Serena Wong.
As part of Chroma Coded with Brad Lay and Philip Gibson, responding to the idea of the translation of various phenomena into pure colour.
SALA Festival exhibition at FELTspace, 4 – 20 August 2016
A text based, moving image work for WORD! on the City of Adelaide’s East End Projector, Rundle Street.
A partner project between the Australian Network for Art and Technology (ANAT) and the Adelaide City Council.
Message for me. 2015, felt tip pen, white out, gold leaf.
Message for the Captain. 2015, felt tip pen, white out, gold leaf.
Postcard sized works for the ‘Wish you were here’ fundraiser for the Adelaide Central School of Art.
Catching a rainbow at Henley Square.
I just stare at the floor and we tell each other stories, gold leaf on tin, at Format Adelaide. July 1-10 2015
Photography: Christopher Arblaster
I wish for birds to sing in sad hearts, four x four at Mint Artist Studios Adelaide, May 2015.
During a tough week in which my heart was aching I removed wishes from a tree, signifying the end of a recent project that had had positivity and hope at its core. As I read them one by one I began to notice a common thread in what people had written – everyone it seemed wanted peace, either on a global or individual scale.
I pondered what this meant at a time when violence was so prevalent in the news. It wasn’t surprising, I guess, that they should want this, but I couldn’t help but think of Miss Congeniality and began to get annoyed at the generic nature of many of the responses. Where was the individuality and originality in what people wanted? What did ‘peace’ mean to them exactly? Was it seen as something so big and unattainable that it could only be reached through the somewhat futile act of wishing? Or was it just that the concept was so overwhelming that the words together made it easier to grasp?
Both world peace and inner peace were entwined I figured, and the former definitely couldn’t be achieved without the latter. Surely the executioners and rioters of late couldn’t truly have peace in their hearts.
As I dropped each wish into a brown paper bag I wondered what they were doing to achieve what they had written. Had this work been an opportunity to negate the responsibility in their own lives or was it just the first of the steps that they were taking to get there?
And how did all of this apply to me and my practice?
As the weeks went on I thought about confetti, and bunny’s and magic carpets and tried to find a way to bring the wishes to life in the context of this space. But nothing felt right, my sadness was overwhelming and I was lacking the lightness that I thought I needed.
In the end I could think only of my heart, and how it hurt and how heavy it had felt in recent times and how to make a work to fix it. And then I thought of you, and your hearts, and the impact of sharing joys and sorrows with others to double or halve what we felt.
Could a work that disappeared dispel my sorrows and bring a tiny bit of happiness to others in the process? Could it be a tiny tiny step in bringing peace to our lives?
The badges are a version of a cushion given to me recently by my sister, something that never fails to make me smile every time I see it. Tiny and portable, they are meant to be taken and kept or given away and worn over the heart on sad days.
Interpretation of Yoko Ono’s instruction:
Wish Piece (1996)
y.o. ’96
Make a wish.
Write it down on a piece of paper.
Fold it and tie it around a branch of a Wish Tree.
Ask your friends to do the same.
Keep wishing.
Until the branches are covered with wishes.
My instruction included in the publication:
To heal and be healed
Keep only happy colours
Use them to become strong in the broken places
And be a rainbow in a strangers life
At the Anne and Gordon Samstag Museum of Art, 13 February – 25 April 2015.
What I should have told Daniel last night, digital print on paper for ‘ARI Collab’, Adelaide Town Hall, February 5 – April 3, 2015. Curated by Polly Jean Dance as part of the Adelaide City Council Emerging Curators Program.
From a series of drawings made on my phone where my secrets and regrets are typed, and then scribbled over with rainbow, so that I feel better for having them and ou feel better for never being able to know.
When the sun hits the wall, 2014, Rembrandt pastel and charcoal at Adelaide Central School of Art for ‘Drawing Month’.
Tasmanian sky (2013), digital image
Tasmanian Sky (2014), digital image
Jessie Lumb 