Exhibitions

XYX Lab “SHEcity,” Workaround Women Design Action
RMIT Design Hub, Melbourne, EPISODE 8 » 2 August 2018

Workaround engages with a movement of women focused on advocacy and activism within an expanded field of architecture. Workaround is a online broadcast and a program of live events. Fourteen Australian practitioners each present a critique, conversation, interview, workshop or performance that articulates their strategies and workarounds and reflects on their activist practice towards positive change in the built environment and its surrounding cultures.

Women and girls workaround the existing built environment every day. When areas of the city and suburbs feel unsafe, women change their behavior, self-limit their access to urban life and sometimes don’t go into urban spaces at all. SHEcity is an inclusive episode for everyone. With the support of the Monash University XYX Lab team, participants will think about spaces, places and experiences from the perspective of young women. Using design thinking approaches, participants will workaround the inequity faced by women and girls in cities to re-design city spaces where women and girls are the experts.

The Myth of Home, 2017
Melbournestyle Gallery
1-8 October 2017
Photograms, collage
Sizes vary: 27.56 x 19.59 in. (70 x 50 cm), 23.35 x 16.5 in. (59.4 x 42 cm), 16.5 x 11.70 in. (42 x 29.7 cm)

These works examine the empty interior as a fragmented space situated somewhere between the past, present, and the future. It explores the psychological complexities of home related to stability and loss – as an empty interior. When an interior is devoid of people a personal encounter and a subjective reading informed by both imagination and memory is evoked. An unpeopled interior can pose itself as an invitation for what may become or an echo of loss, and perhaps even an anxiety attached to idle time. Exhibition partially funding by the Design Department, Monash University (MADA), 2017.

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“Psycho-Babble” Project Passion, 2016
Digital photography, Hand-cut Lettering
24 x 18 in. (61 x 45.75 cm)
Conkling Gallery, Mankato, MN, US, 1 – 17 February 2016

This project explores the impact of language as an assault through typography. The letters have been hand cut out on paper, digitally photographed and arranged in an illegible manner as to evoke the illogical nature of unwanted text messages, voice mails and emails. This work seeks to highlight the inherently private and controlling exchange manufactured by stalking behavior and to raise awareness of psychological abuse incurred through continued and unwanted contact.

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Interior Memory: Re-imagining home, 2016
Gallery at City Library, Melbourne, 02-30 March 2016
Photograms, digital prints
48 x 8.66 in. (122 x 22 cm), 53 x 8.66 in. (135 x 22 cm)

This project examines how narratives of domestic space can be re-imagined after the space has been vacated. Home is the context for a larger narrative about memory and also provides a framework in which to challenge habits of representation. Memory involves a nuanced interpretation that combines perception, emotion, orientation, and embodiment. Therefore, memory is subject to selective editing that reflects current experiences and preoccupations. Expanding on such phenomena, how do reinterpreted images connected to the intimacy of an individual’s past home affect their memories of that place? The project has engaged with twenty participants to describe a past room and their memories located within. It explores how memories are affected when prompted by a re-created image suggestive of an individual’s once inhabited room. Research funded by Research Development Grant, Monash University (MADA), 2014. 

Memory Room and My Make-Believe Room, 2015
In collaboration with Indae Hwang
Library at the Dock, Interactive Screen Project, 15 September – 15 December 2015
Docklands, Victoria

Memory Room is an interactive tool that allows visitors to create a three dimensional image of a room based on their selection of emotive images. Memory Room also prompts the user to write a short narrative about their generated room. In doing so, this project seeks to build a conversation about home as a genre of storytelling, to broaden the scope of how memories attached to the familiar, yet uncanny landscape of home are described, and to create a sense of inclusion as boundaries between people and place merge on a shared public platform.

Memory Room Atmospheres, 2015
Photograms
5 x 5 in. (13 x 13 cm)

Images for the Memory Room project whereby participants are asked to select five images that describe the memories, feelings or atmosphere of a room in a previous home. These images used to build virtual three-dimensional image this room.

My Make-Believe Room Atmospheres, 2015
Photograms, Digital rendering
5 x 5 in. (13 x 13 cm)

Images for the My Make-Believe Room project aimed at children participants whereby they are asked to select five images to create their imaginary room. These images used to build virtual three-dimensional image this room.

The Novel Encounter: Visualising Memories of Home, 2014

A personal examination of both the absence and presence of home. My research explores the concept of home from the perspective that home is not necessarily a fixed or ideal place, but rather an on-going pursuit underpinned by the tension between preservation and transformation. Within these parameters, home is investigated through the lens of memory. Central to my research is how visual communicators can engage with and articulate home and memory as a portable artefact and a core subject for storytelling, which embraces ambiguity and the potential for loss. To address these questions, my studio practice explores the relations between the fragility of paper, the abstract visual language of the photogram and spatial memories of home.

MADA Gallery, 27 August–2 September 2014
This exhibition comprises the practical component of my PhD research.

List of works:
• 260 Rooms, 2010-2012, Photograms, 28 x 5 in. (71.2 x 12.7 cm)
• Dear Diary, 2012, Photograms, 7.67 x 5.7 x .6 in. (19.5 x 14.5 x 1.5 cm)
• Objects of Memories: 75 Bedrooms, 365 Stories, 2010-2013, Photograms, colour laser prints on paper, 3.75 x 5.7 x .6 in. (9.5 x 14.5 x 1.5 cm)
• Objects of Memories: 91 Kitchens, 400 Stories, 2010-2013, Photograms, colour laser prints on paper, 3.62 x 3.62 x 1.77 in. (9.2 x 9.2 x 4.5 cm)
• Objects of Memories: 94 Living rooms, 400 Stories, 2010-2013, Photograms, colour laser prints on paper, 5.7 x 2.36 x 2.15 in. (14.5 x 6 x 5.5 cm)
• Portraits, 2013, Photograms, colour laser print mounted on poster board, Dimensions vary: Portraits of Bedrooms, 4.52 x 6.7 in. (11.5 x 17 cm); Portraits of Kitchens, 4.45 x 4.65 in. (11.3 x 11.8 cm); Portraits of Living rooms, 6.5 x 4.92 in. (16.5 x 12.5 cm)
• The Name of a Room, 2011-2013, Photograms, colour laser print on paper, Dimensions vary.

“Dear Diary” Locale, 2014
Photograms

An examination of a daily theme over the course of 76 days.
Glen Eira Gallery, 6 – 23 March 2014

“365 Days: Bedrooms” Melbourne Now: Printmaking and Artists’ Books, 2013
Digital photography, paper
National Gallery Victoria, 28 November 2013

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“600 Stories” Out of the Studio: Pushing Parameters, 2012
Monash University, 6-7 December, 2012
Paper
Installation: 13 x 8.4 ft (400 x 256 cm)

A documentation of memory, autobiography and home that addresses questions regarding representation and perception, privacy and disclosure.

“20 Bedrooms,” IMPACT 7, 2011
Photograms
An international multi-disciplinary printmaking conference and exhibition.
Monash University, 27-30 September, 2011

20 Bedrooms: 200 Stories, 2011
Paper sculptures: 3.7 x 5.7 x .6 in. (9.5 x 14.5 x 1.5 cm)
Installation: 94 1/2 x 94 1/2 in. (240 x 240 cm)
Glen Eira City Council Gallery, 31 March- 17 April 2011

This project explores the narrative links that bind space and memory together by focusing on the intimacies of the bedroom. It bridges a connection between the bedroom as a visual journal to record, participate and create meaning. This project prompts the questions: What is the relationship between the bedroom and autobiography? How is space reflective of remembrance?

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I Remember Dreaming, 2009
Digital Prints, Translucent Paper
Banners: 22 x 72 in. (55.9 x 182.9 cm)
Book: 5 1/2 x 11 in. (14 x 27.9 cm)
Main Gallery, MCAD, 6–17 May 2009
Bachelor of Fine Art, Visual Communication, Senior project

What determines the boundaries between the lived memory and the dreaming memory? What is represented is a non-conclusive inquiry of my dream’s from 1995-2008. The stories become pattern and pattern illuminates insight. By bringing the dream to the physical surface, I am making the unconscious contents of my mind visible and my psychology transparent.

“Dear President” UNCONVENTION, 2008
Paper
81/2 x 11 in.

A mail art exhibition at the Minneapolis College of Art and Design part of the a collective of organizations sponsoring cultural conversation about the political moment.
Concourse Gallery, MCAD, 20-27 October 2008
Bachelor of Fine Art, Visual Communication, student project

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Essere: Self-Portrait as Self Image, 2008
Hand-cut Paper
11 x 14 in. (27.94 x 35.56 cm)
Whittier Gallery, Minneapolis, 21 May–5 June 2008
Bachelor of Fine Art, Visual Communication, student project

“Unidentified Free Objective” Project U.F.O. 2007
Digital Print
4 3/8 x 3 1/4 in. (11.1 x 8.3 cm)
Gallery 3, MCAD, 15-21 October 2007
Bachelor of Fine Art, Visual Communication, student project

The card opens and expands to reveal in the center the shape of a little girl encased by an image of the Earth. She is grasping for a mobile of letters which read the word peace.

“Tortoise Shell” Backpack as Self-Portrait, 2006
Wood, Paper, Thread, Rock
Concourse Gallery, MCAD, 1-7 March 2006
Bachelor of Fine Art, Visual Communication, student project

“Finding Home” Identity in Past, Present, Future, 2006
Steel, Plexiglas, Paper, Ink-Jet Prints
7 x 19 1/4 x 7 in. (17.8 x 48.9 x 17.8 cm)
Concourse Gallery, MCAD, 7-14 April 2006
Bachelor of Fine Art, Visual Communication, student project

The search for home is a search for a remembrance of self. The structure offers a sense of protection within open rooms whereby a sense of enclosure can drift in. Multiple perspectives are within view while small images of one’s history collate and create a new narrative. There are 70 1 x 1 in. paper cubes depicting photographs that selectively, randomly or significantly built my past. They reside in an unreachable but visible basement. The plexiglas between each floor connects to and unifies the present.

“Contemplation” Pictures in Sequence, 2005
Digital Photography
Gallery 4, MCAD, 8-14 August 2005
Bachelor of Fine Art, Visual Communication, student project