Artwork images presentation for grant - 10 images
Recent artworks for the Auslan sculptures, part of the Deaf Culture project/The Auslan Movement, and some earlier works showing my style and the development of my style to 2019
1. Powerful She (Auslan Sign Words sculpture installation); paper, fabric, plaster, paint, gold leaf; 2020; 90 x 90 cm
This piece was created as response to gender identity and struggles of being Deaf in a hearing dominated world. It has influences of Yayoi Kusama as I relate to her in the way of experiencing gender inequality and struggles as a person with a disability. This work also relates to spatiality of language, the power of visualising words. The words in this set are "My" "Identity" "As A" "Woman" "Is Very" "Powerful" "As Is" "Access" "To My" "Inner" "Child". This work is a finalist in the Midsumma Australia Post Art Award 2020.
2. My Computer My Best Friend (sculptures); paper, plaster, copper leaf, circuit board; 2019; 45 x 60 cm total set on wall.
Auslan sculpture words about computers giving me access to the world. The sculpture words say "My" "Computer" "Gave" "Me" "Access" "To" "The" "World" and the sculptures incorporate copper and green for computers, flesh coloured paint for my hands, and found objects of circuit boards in some of the sculpture pieces to illustrate my communication barriers and ways around that. This relates to the project being proposed as another form of expression using found objects and mediums with spatiality to portray a visual story.
3. Close up of Auslan signed word piece 'Computer'; paper, plaster, paint, found object; 12 x 9 cm; 2019
4. She Talks Back; acrylic on wood; 2020; 60 x 89 cm
A drawing with painting exercise I have enjoyed recently, the developing style of painting on surfaces that are different to the usual surfaces I work with (paper and canvas). The following four works below are images which I made drawings in acrylic paint using the wood panels, semi white-washed for background as a metaphor for the underlying solid and immutable fact of my deafness, over which I paint a happy and normal childhood. This style is something I will be working with when I draw with paint some of the spatial sounds and movements during the Scottish collaboration and Italian residency.
5. She Loves It; acrylic on wood; 2020; 60 x 89 cm
This one is where I apply a dose of imagination coming from my mind at the time in the painting (when I was 9 years old) where I added a cat and a snail doing things they may not normally do and it all comes from the mind but has been visually expressed on a surface. Similar can be applied to the work I will create of spatial sound and language, but not in a visually literal sense, but more an ambiguous sense of shape, lines, colour, blending using mixed mediums.
6. I Can Talk; acrylic on wood; 2020; 60 x 89 cm
I'm using myself as a depiction of happy childhood on a solid surface as a metaphor which would be applied in the same way to spatiality of sound and movement, particularly of music that to me would have emotion and rhythm that I can depict in a style like this artwork.
7. The Excursion; acrylic on wood; 2020; 60 x 89 cm
A metaphor for movement on a solid panel, this can relate to the example of using spatial movement and mediums on a surface like this. But with many more mediums than just acrylic, on this kind of surface (wood panel) to create a piece on spatial movements and sound.
8. I Wore The Tickle Talker in 1988; pencil, charcoal and gouache on paper; 2019; 92 x 67 cm
I drew a set of Auslan sculptures about my experience of wearing an electric shock device on my hand at age 9 for 3 years to "help" me hear. This work was the start of experimenting with drawing in pencil and charcoal of subjects that are not so tangible but draws the eye in visually, to give a comment on drawing spatial movements. This would also relate to the project proposed in the way of using drawings to create visuals of spatial movements, but also it will move away and towards more abstract lines and shapes I will feel from sounds of music in Scotland and Italy. This artwork was a finalist in the Lyn McCrea Memorial Drawing Prize in 2019.
9. The Deaf Social (sculpture installation); paper, plaster, fabric, gold leaf, pencil, charcoal, gouache; 2019; 90x90 cm
These sculptures were created from the Auslan Movement performance, and then made into this art installation on paper, with some drawings of Auslan sculptures on the sheet of paper, among the sculptures, to depict the Deaf social culture. This work points towards the direction of development of spatiality of movement and language and gives a glimpse into the ideas of visualising the feel of sound, spatiality of sound felt by a Deaf person. This work was a finalist in the Noel Counihan Commemorative Art Award in 2019.
10. Working drawings and working sculpture images of visual spatiality of sounds; 2020; 40 x 30 cm (drawings) 20 x 15 (sculpture)