Context is important to me – thinking about the personal, social, spatial, temporal and political contexts that give rise to an artwork. To borrow an idea from my friend, artist Alana Hunt: ‘The how, where and to what end’ of artmaking[i]. What then are our networks of influence within these contexts? How are these contexts constructed? How do we acknowledge and respond? My work exists in the realm of painting, in the philosophies of abstraction, in the mindscape of landscape; in painting as a site of embodiment and critical thinking played out in actions recorded on the canvas. Actions layered over time; erased and retold. 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 PhD 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 my collaborative partnership with artist Carla Liesch and the work we are making that is engaging with people, public and local spaces. My paintings are my embodied experience of this context. I want to acknowledge the networks of influence that inspire and challenge me to make, think, write, curate and collaborate.
[i] Alana Hunt used this phrase as the title of an essay published on Dear Un (22 June 2017), referencing the writing of US critic and writer, Chris Kraus on 'radical localism'. Read Alana's essay: The how, where and to what end: A conversation between Anabelle Lacroix and Alana Hunt, here.