Past Future Present 2016

I see weaving as a metaphor for the continuation of Indigenous culture; threads of the past leading to the present, continuing and evolving. Unfortunately through colonisation, there was significant damage, cut and torn fibres, twine unravelled and techniques lost, yet Indigenous culture is perpetual. There is an opportunity to understand social and historical impacts, repair, revive traditions and re-stitch. By merging the old ways with the new, we can forge a stronger sense of cultural pride.

The artwork is interactive as you need to hold on to threads to activate a video clips. The technology supports the concept of connection, as it is people’s involvement that completes an electrical circuit which triggers various visuals. Without interaction the work becomes stagnant but it but can re-awakened as the threads are picked up again. The combination of visual layers and woven fibres create a new and emergent artwork.

This work was inspired by the Yunggaire weavers as they shared stories and spoke about re-connecting with the old weaving traditions. The wall hanging was hand woven from the coiling technique and threads were twisted or twined. These techniques were captured on video and this documentation became the digital projection element of the artwork.

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Gathering Strands exhibition at Redland Art Gallery 2016.


Excerpt from Gathering Strands catalogue by Freja Carmichael.

Wat r u wearing?

A gallery of artwork featuring naked woman can be a banal cliché to the art world but this series of works have an additional virtual layer of secrecy, unassuming to the naked eye. The hidden clips can be exposed through augmented reality technology which uncovers a collection of private videos and text messages.

This body of work draws on parallels between self-promotion (via social media and online dating) and marketing campaigns, consumer products and disposable relationships. Through the eyes of a single woman, it comments on the importance put on body image and physicality, reality vs virtual personas, narcissism, as well as honesty and disclosure in a digital age.


Missfit, 2015


Behind Screens, 2015


In box, 2015

The female figures uncomfortably fit into the frame while attempting to maintain a certain sexual appeal, naked to portray vulnerability but crossed legged to show resistance. Fishnet stockings, a symbol of sexualisation, cover the canvas to further convey the idea of confinement and figuratively getting caught up in the ‘web’. The hidden videos are a statement about modern communication in virtual spaces. The viewer will need to get up and personal in a seemingly private interaction to reveal the sexually suggestive video directly through to their personal mobile device. 

See a demonstration of the embedded AR  :