What inspires your art practice?
My art practice explores fictions and ideas around history, culture, ritual and ceremony. My sculptures are often presented as historical artefacts. An interest in our position as cultural makers of the Asia Pacific region inspires my choice of objects and use of native found material such as Kauri and Banksia nut, Sheoak and Punga in my sculptures. I often return to the theme of re-assigning functions and meaning to ordinary objects. Through my work I ponder how often museums may mislabel ancient artefacts with the incorrect purpose and I contemplate how we ascribe value to objects. I am particularly fascinated by the unseen and spirit worlds, and the magical quality that religious or ceremonial objects hold.
What materials do you work in?
Wood carving, ceramic, photography, film.
Briefly describe your artwork for NZ Sculpture OnShore 2018.
Two figures stand facing each other, eyes closed, meditative. It’s as though a telepathic conversation may be occurring between the two, a lesson of sorts. The wooden figures are bulbous, like giant bells, while the heads are finely detailed and realistic. I see it as a conversation between two artists; The male figure is carved in Ash, and modelled after an artist friend of mine, while the little girl is carved in Totara and modelled after my artistic daughter. I enjoy the ambiguity around who the Master and who the Teacher may be, reflecting on how much we learn from our children. Windchimes surround the sculptures lending a beautiful aural quality to the work.
Where are the public most likely to see your artworks outside of NZ Sculpture OnShore?
I am exhibiting regularly in Auckland and Melbourne in various galleries. I usually promote my exhibitions through my website and on Instagram and Facebook. My work can be seen at The Vivian in Matakana, where I will have a solo exhibition next year.
Where did you study?Victorian College of the Arts, Melbourne University, MFA and Elam School of Fine Arts, BFA