Abstract
My work sheds light and value on what has been termed and known as traditional women’s art such as fibre and textile art processes closely linked to processes in nature and the biophillic. To explore this interconnection, I collaborate with silk-worms through raising them in sustainable ways and through creating sustainable art from this engagement. I knit, stitch, felt, engage in digital printing processes and more. While form and narrative were key to my early art processes as a painter, in recent years creating with materials from nature and using ‘traditional women’s art’ practices have spoken more strongly to the combined conceptual notion of ancestry/identity/place (a phenomenon which was a finding from my PhD research 2010-2014. The embodied, bodily and social space impacts of my work have been explained in a book chapter From the Parlour to the Forum (2019) and this presentation expands upon theories discussed in these and other publications. In addition to nature and the biophillic, the presentation of my work involves art derived from a project based on my identity as a ‘new’ Australian woman on the Victorian landscape 2018-2021 which has been photographed, digitally manipulated, and printed to portray these qualities of line, form, and image that can only be found through my particular series processes. Related to this are digital images of reflections through patterns in private interior spaces, captured during the months of lockdown, where many of us experienced windows into other’s private spaces in global contexts via online conferences.
Presenters
Shelley HanniganSenior Lecturer Art Education, Faculty of Arts and Education, Deakin University, Victoria, Australia
Details
Presentation Type
Theme
2021 Special Focus - Voices from the Edge: Negotiating the Local in the Global
KEYWORDS
Biophillic, Local, Universal, Visual, Art, MixMedia, Interconnection, Global, Local
