Testing language to its limits, Bolt Upright describes ten seconds of existential terror through a series of tangential, fragmentary sentences where words sag under their own weight. Using Blanchot’s framework of the disaster as unknowable and inarticulate, the work is an exercise in failure to grasp or articulate fear of death.
The work describes a moment of waking in the night, full of inarticulate horror around mortality, and extrapolates relationships between chaotic content to create a storm of fear on a vast scale.
Drawing on W.J.T. Mitchell and Roland Barthes’ writings around description as a way of disrupting narrative and sense-making, Bolt Upright creates a wall of content that draws the reader forward and backward, moving between the granular detail of words at close range, to a shifting abstraction at a distance.
Thirteen A3 sheets of paper, UV ink, UV torch.
Apparition draws on the history of spirit photography and the human need to find meaning in the supernatural.
Thirteen seemingly blank pages contain a description of a real ghost experience, revealed only when seen with a UV light. Each moment of visitation and fear melts away as soon as the torch light moves, creating a frustrating, vanishing, ephemeral encounter for the viewer, who is implicated in the act of uncovering meaning and left to consider their own experience of the uncanny.
Two framed photographic inkjet prints. Each frame 106 cm x 106 cm.
Finding ways to convey the presence of the void and knowledge of death, Colossal uses two titans of art history to physicalise human consciousness of mortality.
Malevich uses the format of the black square as a framing device for a tiny self-portrait, while Mapplethorpe recreates Robert Mapplethorpe’s Self Portrait, 1975 (an image that Roland Barthes considers to contain the quintessence of eroticism and life) with an inset section of darkness.
The works speak to each other across the gallery space, trading heaviness and lightness, as a contemporary memento mori.
‘END FM’ prints a commercial radio text-line transcript. The hosts ask the listeners what they would keep if the world ended. The responses are typical. And then the world ends.
Engaging with current dialogues about the apocalypse and the role of speculative fiction, ‘END FM’ presents a relentless, unstoppable archive of disaster, which repeats over and over, producing reams of paper that spill across the gallery floor.
Coding by Jesper Sidhu.
Digital video work, 10’34.
‘Death Drive’ is a video work using tragicomedy to create a space for honest conversations about death. The artist invites individuals into a coffin nestled in the back of a people mover at night, an unlikely hearse for necessary conversations.
Four receipt rolls, handwritten text. Approx 1000 x 80 cm.
‘Predictive Text’ collects every text message exchanged with a deceased friend, rearranged and rewritten in an attempt to uncover a reason behind his death. The work comprises a forensics of loss, an obsession over an archive to find meaning.
It approaches death through a process of dismantling – through the datification of life, the restructuring of the archive, and the reordering of information through repetition and handwritten labour.
Angry Reacts Only
Six A3 inkjet prints.
Pasted up in a Melbourne underpass, ‘Angry Reacts Only’ is an embodiment of virtual trauma, investigating the way that rage in online spaces impacts the body in the real world. The body becomes a site of psychic impact, where language and judgment inform the narratives that are tied to our physical selves.
‘Dash after being catcalled’, CCP Salon 2016 Best Portrait winner. ‘Strikethrough’ – National Photographic Portrait Prize 2015 finalist. ’Faustina on the Porch’ - Maggie Diaz Photography Prize for Women 2017 finalist. ‘Stack’ – Maggie Diaz Photography Prize for Women 2015 finalist. ‘Mountjoy’ – Moran Contemporary Photography Prize 2015 semi-finalist.