Landing Points: Race, place and identity, co-curated with Dr Lee-Anne Hall
Penrith Regional Gallery & The Lewers Bequest
2 December 2017 - 4 March 2018
Cigdem Aydemir, Hayley Megan French, Caroline Garcia, Victoria Garcia, Alana Hunt, Tim Johnson, Carla Liesch, Nicole Monks with Luke Butterly, Joan Ross, Mark Shorter & Jason Wing
Photograph by silversalt
An print publication was produced for this exhibition with curatorial essays by Dr Lee-Anne Hall and myself, and two commissioned essays by writers Michael Mohammed Ahmad and Tristen Harwood along with artist statements and images. The publication is available for purchase from Penrith Regional Gallery & The Lewers Bequest. A digital version of the catalogue is available here.
Installation image: silversalt. Background: Time Prolapse by Carla Liesch; Right: Eight Vertical Perspectives (detail), Hayley Megan French
Eight Vertical Perspectives, Hayley Megan French, 2017, photograph by silversalt.
Eight vertical perspectives responds to the personal, social, spatial, temporal and political contexts that give rise to an artwork. My work exists in the realm of painting, in the philosophies of abstraction, in the mindscape of landscape; in painting as a site of reciprocity and critical thinking played out in actions recorded on the canvas. Actions layered over time; erased and retold in white paint. I am informed by my context, working in Australia, and driven to learn more of the colonial and postcolonial histories and stories of this place. I am informed by my research into the influence of Aboriginal art on how we think about and make painting in Australia and what that means for myself and others. I am informed by the networks of influence that inspire and challenge me to make, think, write, curate and collaborate. My paintings are my embodied experience of this context.
Eight Vertical Perspectives (detail), Hayley Megan French, 2017, photograph by silversalt.
Eight Vertical Perspectives (detail), Hayley Megan French, 2017, photograph by silversalt.