MAPS An ongoing project exploring identity, site and cartography.

Where My Tribe?
2018: ‘The Connected Thread,’ at Hills Art, SA.
Materials: Digital Print & PCC Shower Curtain, 120x120cm.

The exhibitions prose was to explore the connection between textiles and connection. This digital graphic is printed weathered and presented on a plastic woven textile and investigated the human need for connection, though text and cartography. The work explores the story of an unknown person who lives on the edge of the world and the pink unknown, they are desperate for the connection of another yellow dot, but every yellow dot is incredible far, unreachable. A digital connection is inadequate, humans need touch from there tribes.

Intimate Mapping
2018: ‘POC,’ at Fanny Adams Vintage, SA.
Materials: Digital Print, 80x80cm.

This work was made for the August 18 SALA Festival. This digital print marks personal, but unknown identity-shaping-experiences within Adelaide. I wanted to demonstrate the frustration I felt from being misunderstood, people knew information about me but didn’t understand me. Here I present important personal locations without the context of time or meaning.


PUNCH IN/ PUNCH OUT.

2019: ‘EROS: Thessaloniki Queer Arts Festival 2018’ at MoMus-Experimental [Greece].
Materials: Digital Print & PCC Shower Curtain, 120x120cm.

Punch In/Punch out expands on the theme of eros by intersecting it with location. Life is messy and often confessions of love or breaking up can happen in mundane areas. These paintings offer ways to tell part of the story. The punched holes denotes an approximate location, however they also removed important information. When we tell a friend about a moment of Eros, we can give them approximations of the event with information such as time, location, emotions… but we cannot fully communicate these critical moments. These maps can be reviewed as imperial evidence of an Eros experience and also as punch in/punch out cards, for when we punch into or out of Eros/Love.