Where are you from? What is important to you?
I am from Melbourne, Australia.
Family, education and art are important to me.
Can you talk about this series of work, “Fever”?
This series is something I’ve been wanting to work on for a while. It is the first series of what will be a larger collection of works exploring the relationship I have with my mother, focusing on my experience of being nurtured from past to present.
You’ve used hair from both yourself and your mother in the pieces, why do you think hair continues to be such a powerful subject and medium in art?
Hair is so conceptually loaded. It is a product of manipulation, strength, gender, attraction, love and repulsion with a strong focus towards personal significance.
For myself, it explores intimacy, concern, care, maintenance, and obsession as reflections of my own identity and outward affiliations.
Family life, relationships, intersecting emotions and the yearning to be nurtured are just a few of the themes you encompass in your work, what draws your to explore such concepts?
I’m interested in creating a visual archive of my existence, my work is a compilation of my experiences, needs, thoughts and feelings. The themes I explore in my work are things I experience daily so it’s only natural that I am drawn to making work about family and relationships.
Can you describe your first experience with feminism, or perhaps when you first identified as a feminist?
I began identifying as a feminist around four years ago. I can’t pinpoint any precise experiences that made me identify with feminism, it was more of a natural process involving ongoing learning and education that, over time, lead me to new ideologies and ways of thinking.
Sleepover Club is about collective action and art making, but also about joining the broader conversation on feminism, where do you think your work sits in this landscape?
My work sits within the landscape of feminist art as there is dialogue between the viewer and the artwork through the inclusion of women's perspective. However, when planning and creating these works the intent was not for them to be feminist artworks, it is only through process and examination that they have taken on concepts that link to feminism. I am proud to be a female and an artist. However, this is an example of what it’s like being a woman and being an artist; I am automatically placed in the feminine archetype of making particular kinds of works, which are often known for being inherently feminine. This separates me from male artists and therefore removes me from a comprehensive approach to the creation of my art, this is an issue and limits the way my art is viewed.
What do you think needs to change in the art world to achieve equality?
To start, people need to stop making presumptions and gendering art.
Finally, can you share with us the artists/activists you feel most connected to?
Agnes Martin, Tracey Emin, Charlotte Gainsbourg, Eva Hesse and Lars Von Trier