Liminal: Found object, black cord, steel cable, sandstone rock; The North Sydney Art Prize 2019 (Photos by Brett Studholme).
The site specific installation corresponds to material features of the Coal Loader chambers as human-made structures. A suspended chair serves as a metaphorical invocation of individuals that crossed paths with the site throughout its history; "calling" them into presence whilst acknowledging their absence. Other elements of the installation also have a metaphorical significance: Black cords emerge from the chamber walls and reach out to the floating chair, continuing through it and converging at a narrow point, tied to a heavy sandstone block (sourced on site). The empty chair is thus "anchored", inviting the mind to wonder about the identity of the people who left (or not) their mark on the architecture of the place.
Self-Portrait as a Landscape in White: Fabric, wire, salt, sandstone, concrete, timber, lights.
Light & Shadow Forms: Earthenware (wall), mussel-shells, polystyrene, filler, paint (floor); H98 x W22 x D30 cm (wall), H158 x W30 x D30 cm (floor).
Poetry Bloodline (or Reading Faruk): Mussel-shells, wire, fabric, paper, chair.
Life-sized mixed media installation is based on an experience of reading a poem Liberation Day by the contemporary Bosnian poet Faruk Šehić.
Vanishing Point - The Point of Contact No. 1: Polystyrene, filler, gesso; Verge Gallery 2016.
Sea Swell: Mixed media tryptich - canvas panels, acrylic paint, mussel-shells; H152 x W198 x D3 cm.
Natural Geometry in Black, White & Blue: Mussel-shells; polystyrene, filler, paint; H85 x W85 x D15 cm.
The wall-sculpture surfaced with locally sourced mussel-shells references the Sydney Harbour, its historical Aboriginal midden sites, as well as the natural geometrical patterns - whirlpools and Ocean waves.
In My Bones, Their Abode No. 2 (For My Grandparents): Porcelain, decals, paint, found objects. bones, sand.
Spirit That Binds No. 1: Porcelain, wire, paper mache.
Spirit That Binds No. 2: Porcelain, wire, paper mache.
Holding Sky: Earthenware, mirrors.
Conversation: Mussel-shells, wire, fabric, found objects - chairs, fireplace.
This version of the installation at the solo exhibition A Year at the Coal Loader (2017) presents personified Coal Loader environment and its history, as well as the experiential relationship with it (mediated by a poem by Faruk Šehić). The artist and the site are portrayed in an intimate "conversation" set in a "domestic scene".
Between the Eye and the Eyelid: Eucalyptus tree, ceramics, clay, copper wire, caul fat (omentum majus) silicone casts; The Red Project 2018.
This site specific installation was created as a poetic visceral landscape. The archetypal shapes, textures and patterns featured in the work speak of the common origins and links between a human body, vegetative and animal world, organic and non-organic life. Together they are forming a metaphorical language; emerging as surreal. dream-like forms that blur the lines between internal bodily structures, internal psychological landscapes and the external environment.
Red Cube Sculpture (Left): Perspex, silicon casts of animal caul fat (omentum majus), embedded red lights; H40 x W40 x D40 cm.
Hands Installation (Middle & Right): Red Cube, ceramic clasped hands x 2; Tears of Things, Joint Exhibition (A+B Studholme & Terhi Hakola),
Incinerator Art Space, Sydney, 2020.
The ceremony of innocence is drowned (but the invisible centre still holds): Three glazed stoneware forms, found objects (burned branches), image printed on paper, coloured lights; Project 2060: Homeward Bound, The North Sydney Council, 2021.
The installation references the poem Second Coming by W. B. Yeats.