Containing the minumental self.
(Detail)I love cleaning the sink (2011) 800 x 600mm Ink on paper SOLD
Inspired by Louise Bourgeois’ ‘femme-maison’ (1940), ‘I love cleaning the sink’ locates the female in the domestic space (domus), forming an image of the housewife. When the female moves within the domestic space, she re-maps herself through the dialogue of her emotions and the space; thus the home becomes a place where minumental journeys take place. The chimney acts as a porous intrusion; leaking expressive intimate residue into the external world for all to see, turning the inside out. The privacy of the domestic space is challenged by this intrusion into the architectural body of the home, causing the inner life and inner consciousness to become exposed and revealed.
Inspired by Louise Bourgeois’ ‘femme-maison’ (1940), ‘I love cleaning the sink’ locates the female in the domestic space (domus), forming an image of the housewife. When the female moves within the domestic space, she re-maps herself through the dialogue of her emotions and the space; thus the home becomes a place where minumental journeys take place. The chimney acts as a porous intrusion; leaking expressive intimate residue into the external world for all to see, turning the inside out. The privacy of the domestic space is challenged by this intrusion into the architectural body of the home, causing the inner life and inner consciousness to become exposed and revealed.
I love cleaning the sink (2011) 800 x 600mm Ink on paper SOLD
The hoover bag curator (2011) Ink on paper 800x600mm (Detail) SOLD
This work looks at how we control the domestic environment and its by-products through the process of decontamination and containment through the minumental act of hoovering. This concept evokes the atmosphere of a museum; a space where change and disruption have no role. The inhabitant takes on the role of the curator, constantly travelling and navigating the house to monitor dust and contamination, hiding nonessential objects away (under the stair with the stags head) to keep better control over the space and clear it of clutter.
This work looks at how we control the domestic environment and its by-products through the process of decontamination and containment through the minumental act of hoovering. This concept evokes the atmosphere of a museum; a space where change and disruption have no role. The inhabitant takes on the role of the curator, constantly travelling and navigating the house to monitor dust and contamination, hiding nonessential objects away (under the stair with the stags head) to keep better control over the space and clear it of clutter.
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The hoover bag curator (2011) Ink on paper 800x600mm
(detail) Put your house coat on and try to ignore the scratching (2011)
800x600mm ink on paper
This work is a discussion on the direct relationship between the domestic and the inner self, as if the house is being worn as a dress. ‘In respect, the house is similar to clothing and at a certain level, is its very extension. Fertility and human creativity reside, now as ever in transforming things…’ (Bruno, G. (2002). Atlas of emotions: journeys in art, architecture) Clothing shows stains and wear and tear; the corporeality of a person is mapped out by the visible evidence of clothing. The history of a garment is shown in a similar way to that of the skin; as an extension of the inner being, the garment indicates what lies beneath the surface, just as our faces, decorated with lines of life, memory and worry, map out the landscape of our minumental past.
800x600mm ink on paper
This work is a discussion on the direct relationship between the domestic and the inner self, as if the house is being worn as a dress. ‘In respect, the house is similar to clothing and at a certain level, is its very extension. Fertility and human creativity reside, now as ever in transforming things…’ (Bruno, G. (2002). Atlas of emotions: journeys in art, architecture) Clothing shows stains and wear and tear; the corporeality of a person is mapped out by the visible evidence of clothing. The history of a garment is shown in a similar way to that of the skin; as an extension of the inner being, the garment indicates what lies beneath the surface, just as our faces, decorated with lines of life, memory and worry, map out the landscape of our minumental past.
(Detail) Put your house coat on and try to ignore the scratching (2011)
800x600mm ink on paper
800x600mm ink on paper
(Detail) Put your house coat on and try to ignore the scratching (2011) 800x600mm ink on paper
(Deatil) Walking the dog, 8.30am (2011) 800x600mm ink on paper (detail) Sold
Psychogeography, according to its founder Guy Debord, is “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals.”
This work along with Mapping horse dog day, also looks like a stag with those ears! Is a psychogeographic map of the daily walk around our neighbourhood with our dog Toby. The path we take changes with the weather, however it’s mostly the same, with reference points on the landscape which stand like beacons greeting and farewelling us as we move along our morning walk. The work’s focus is a typical morning, the light golden and autumnal, mists rising across the Taumarere Valley, the gently hinted warmth of the sun promising a mild day. The walk is a quiet reflective time; it’s during these walks that I think about the work I am doing and have done; how it can be improved, and mentally resolving any issues.
All drawings are available through Kaanzamaan julia@kaanzamaan.co.nz
Psychogeography, according to its founder Guy Debord, is “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals.”
This work along with Mapping horse dog day, also looks like a stag with those ears! Is a psychogeographic map of the daily walk around our neighbourhood with our dog Toby. The path we take changes with the weather, however it’s mostly the same, with reference points on the landscape which stand like beacons greeting and farewelling us as we move along our morning walk. The work’s focus is a typical morning, the light golden and autumnal, mists rising across the Taumarere Valley, the gently hinted warmth of the sun promising a mild day. The walk is a quiet reflective time; it’s during these walks that I think about the work I am doing and have done; how it can be improved, and mentally resolving any issues.
All drawings are available through Kaanzamaan julia@kaanzamaan.co.nz