In Education is based on my work in the US school system combined with interviews on memories of formal schooling in Aotearoa. Discussions include discipline, socialisation, and the possibility of an ideal school.
After Ends is a film essay, made in collaboration with students at City Tech, Brooklyn. The film explores ideas of menopause, orcas, and the Natural History Museum in NYC.
The subject of Detraction is The Large Glass (The Bride Stripped Bare by Her Bachelors, Even) by Marcel Duchamp, an allegory of suspended desire: re-made as a collapsed division, privileging indeterminacy.
Images
1. Installation view, Eildon Gallery, 2017
2. The Wide Sargasso Sea, ink on silk crepe de chine, 32 x 40 in.
3. Installation detail of the work Detraction, ink on silk haboti, 118 x 48 in.
Image Credit Christian Cappuro
Exhibition poster designed by Symon Mcvilly
In 1931 a woman approached the star of the play, Everything will be fine, (Tout va bien) in the Theatre Saint-George in Paris. The woman took out a knife and attempted to stab the actress, whom she believed was impersonating and persecuting her. The attempted murder failed. After this incident, the woman became know as “Aimée” in the case notes of psychoanalyst, Jacques Lacan. Aimée was the central figure in Lacan’s 1932 dissertation, On Paranoiac Psychosis in its Relations to the Personality. Lacan appropriated her life for his theoretical ends, but never identified her by her real name. Her name was Marguerite Pantaine. He used the woman’s novels, family photos, and her discourse as evidence to support his theoretical works. Despite Marguerite's requests, Lacan never returned her novels; they have since disappeared into the archives and may never be found. These novels are an absence within the narrative of psychoanalytic theory. The exhibition Theft: Prints and Drawings is intended to act as a substitute for an absent text.
Images
1. Installation view, Eildon Gallery, 2016
2. Yellow Mirror, ink and turpentine on found mirror, 120 x 52 in., and Candle, wax and organdie, dimensions variable.
3. Installation view with wall drawing and altered screen prints, dimensions variable.
Image credit: Andrew Curtis
Disinterment
Barbara Campbell, Erin Crouch, Anne Ferran, Briony Galligan, Fiona Macdonald, Rosina Prestia,
MADA Faculty Gallery. 2016
Supported by The Symposium of the International Association of Women Philosophers
Curated by Tamsin Green
The most important part of this exhibition was also the hardest part for the audience to see. I produced a silk-print based a work by André Masson. Masson's painting was commissioned by Jacques Lacan and used to cover over Gustave Courbet’s work, L'Origine du monde (1866). The new painting was used to both conceal and reference Courbet's work. My version of Masson's work, in silk, was given to my mother as a gift and worn to the opening of the exhibition.
Images
1. Installation view, Bus Projects, 2015
2. Original Frottage, Pencil rubbing on paper, 18 x 22 in., unframed
3. Gift, digital print on silk, 18 x 22 in.
Image Credit: Christopher Croker
Section
TCB Inc., 2016
30 ft hand printed banner, suspended with helium balloons.
Smiles of Pasolini draws on the director’s proletariate allegory, Mama Roma. Despite the sorrow of this story there are moments of empathy: flickering smiles that appear and disappear as the public passes down the underpass towards the train.
Works from Substation Contemporary Art Prize, Designs, Relax, Speed of Light.
