The intrinsic and identifiable characteristic of my art practice stems from a long connection to land; the land of my family farm and of the Wiradjuri people, at Bimbi in south western NSW.
An ongoing focus of my work is the use of mapping as a cultural construct of landscape and language. In this context of Unfinished Maps I combine symbols and codes to construct new narratives from historical and personal accounts, in order to shift the focus from the obvious to the significant, yet often overlooked experience.
The materials I use echo my interest in rural histories. The initial attraction to using metal surfaces evolved through my research into the ‘making-do’ of the solider settlers who denied hardship and shortage with such measures as lining their huts with flattened out kerosene tins.
Much of the text and imagery engraved into the aluminium is taken from a wide variety of sources, such as the long list of provisions and livestock of the First Fleet; five rabbits, 300 Gallons of Brandy, Rev Jon’s cats – all destined to play a major role in the colonial invasion.
Inspiration is found in everything from early navigational maps and worn second-hand materials to the unspeakable aspects of colonisation, the Irish convict experience, and the colloquial slang of those times.
In The dogged optimism of the Irish a trail moves across the surface towards the burnt texts of Tallow and moonshine – the only two things that a released convict could make money from.
Unfinished Maps addresses the absences created by formal history; the anecdotal, the forgotten stories and folklore, the personal and the unfinished. It also acknowledges Indigenous connection to country that exists at a spiritual level rather than through ownership.
To view available works from this series please make your enquiry through the
contact page.