Taking place in Malaga in a at a time when we were emerging into a post-pandemic world, this one-week residency centred on how senses of feeling connected or disconnected might be closely tied to the concept of distance. Working with Candice Boyd and Sarah Bennett on site, the urgency of environmental change pressed more deeply on us as we came to terms with a surrounding terrain that had been devastated by a wildfire tornado two months prior.
Making Plans moved the studio into a temporary exhibition space for a one-week residency in Sheffield. Working collaboratively with Anne Edwardes to interpret unfamiliar sewing patterns, the project amplified our relations with the objects, props, tools, and rituals that support the process of making. In doing so, it also touched on misinterpretation, representing practising, and gendered approaches to creative work and instruction.
A body of works creating representations of landscapes from postcards, travel guides and other tourist literature together with dust and grit from the studio floor. The images offer enclosed geographies that sit somewhere between landscapes imagined through a microscope and satellite photographs of earth.
Created as a series specifically for the exhibition Drawing Lines in the Sand on Cockatoo Island in Sydney Harbour,“Travelling-Landscape Objects” takes its title from the writings of geographer Veronica della Dora, the peepshow boxes of raree-showmen, and the landscape modelling practices of artists like Thomas Gainsborough.
Cardinal and latitudes are series of ideological islands and are a reference to the separation between an idealised island landscapes and homemade attempts to reconstruct them. The work comprises of drawings and photographed constructions made from materials found in the home: from the contents of kitchen cupboards, domestic rubbish and paper ephemera. The resulting images oscillate between the day-to-day build up of matter and fantasies that attempt to transcend the mundane.
