Cotton drill, wire, muslin and wool, fluorescent work light, wall installation
Killing time came about when l found a pair of my fathers old yard trousers. The waist button was missing, the zip broken and numerous darn patches at the knees. The usefulness and quality of the fabric was never dismissed even in this condition. So they were worn with coarse twine around the waist.
The material properties of drill fabric in this work now torn, clumped, hung and arranged in a group, play with notions of anthropomorphism, and the attributes of human form and characteristics of the tribe familiar to ritual and work.
Synthetic marine rope, cotton cord, cotton thread, cable ties, cotton cloth, insulation foam sheeting, gaffer tape, lights, rubber matting, felt fabric, audio.
The ‘pop up temple’ plays with the notion of the sacred, spaces that are carved out or built and inhabited for ritual or ceremony, or as quiet reflective space for contemplation.
The first work in an ongoing project using a geodesic dome structure.
Synthetic found material
Black – derivative of oil. Host – offering no nourishment other than physical shelter.
Within Carmel Wallace’s beach veranda source material, are singular offerings of weathered rope encrusted with coral. This mix of organism and synthetic mass had created over time a coalescence of all that had happened, in the ocean environment, into one connected whole. Although objects of beauty in their own right, l returned the coral to her collection of materials, instead focusing on a kind of substrate of existence within this unease alliance.
Exhibited in group show titled beach veranda, curated by Carmel Wallace, at Wishart gallery, Port Fairy February 2017.
MP3, soundscape, paper sculpture, wire mesh, nylon, cotton fabric installation with 10minute duration performance by the artist.
Wearing mechanic’s overalls, l scrubbed the floor and intermittently returned to the table to fold a paper plane (complex origami design). Often audience members would sit down to fold in rhythm. As each plane was completed, l stood to tie it to the ceiling. The performance was in silence, with slow movement.
Installation and performance in the former Ansett Bus Depot building, Hamilton, Victoria, was presented as part of Ansett Aflight, Hamilton, May 2016.
M3p’s, digital projectors, digital speakers, carboard, for interactive sculptures and soundscape.
Alive in the era known as the ''Machine Age', I’d like to think of Horace Woolmer as a bit of risk taker . Thinking inside the machine and playing on the Avant-garde film making style, I've employed the human eye and the machine; the human eye as an instrument, in the way the camera was an instrument for Horace.
Installation in the former Woolmer’s Power House, Natimuk, Victoria, as part of the space that binds us project, presented at Nati Frinj, November 2015.
Paper, cloth, paint and performance by the artist.
‘the gesture of folding an origami boat in slow movement continued as the artist walked amongst the audience to gift each one’.
Paper sculpture/audience and site interaction in the installation Malaysia Australia Project, forecourt of the historic St Pauls Church, Melaka, as collaborating artist in the Malaysia Australia Project, presented at Melaka Arts and Performance Festival Melaka, Malaysia, October 2014.
Remnant carpet and assorted materials, floor installation
Installation drawing from the artist’s memories of playing amongst the decorative patterns in her childhood home. A rich topography for her matchbox cars, inner suburn driveways and roads, the carpet became an immersive space for exploring ideas and imaging the world beyond home. within patterns looks at the power of patterns to recall memory and engage imagination.
Floor work in Solo exhibition Gallery 2, Stockroom, Kyneton, Victoria, July 2012.
Remnant school blanket, cotton cloth and thread, 5m x 5m wall and floor installation.
Solo exhibition, Gallery One at C3 Contemporary Art Space, Abbotsford, May 2011.
This work has also shown in Solo exhibition at off the rails gallery, Dunkeld, 2009.
found timber, nails
winner of Lost in Sculpture Acquisition prize, Dunkeld, 2009, currently permanent public art in along public walking track, Salt Creek, Dunkeld.