My passion for the creative arts began in early childhood and through my schooling years, where I completed my HSC in 2006. Between the years of 2007-2013, I put my creative studies aside and worked in Sydney and Melbourne as a Corporate Personal Assistant as well as travelling overseas. In 2013 I finally had the opportunity to chase my passion and career dream to live in a world of art and creativity, and to one day have the privilege teach others. With my goal in sight, I began my academic journey and completed a Certificate IV, Diploma and Advanced Diploma of Visual Arts through the Riverina TAFE, as well as commencing a BA Fine Art at CSU. I was granted a place at the ANU School of Art as a Painting Major, and in 2017 I completed the remaining aspects of my BA through CSU Distance Education. Artistically, I favour traditional drawing techniques with charcoal and soft pastel, but have more recently moved into a focus of experimenting with abstraction, mixed media and different artmaking materials, mediums and processes. I am currently studying a Master of Teaching at Charles Sturt University in pursuit of my goal to become a secondary Visual Arts Teacher.
The conceptual idea for my artwork was inspired by my object - The 1951 Australian Womans's Weekly found within my grandmother's knitting bag, which was connected to the Chifley Home and Education Centre through the similarities between the life of Mrs Chifley and my own Grandmother. Through the Subjective Frame, I felt a personal connection while flicking through the pages of the old magazine, and I was intrigued about how Mrs Chifley’s life as a women was so different to mine – yet some things are still the same. The Australian Women’s Weekly was founded in 1933 by Frank Packer, and at its peak in the 1950s and 1960s, it had the largest circulation of any women’s magazine on the planet.
Through the Cultural Frame, the magazine offers a socially significant insight to the shifts in womanhood, feminism and the changing role of women. Having a magazine from the era of Mrs. Chifley and my own grandmother offered me a snapshot of what life may have been like as a woman of their time. But the magazine also reflects continuity in its format of smiling cover ladies, emphasis on cooking, raising children and beauty as well as the type of advertising and products, which haven’t changed much in the last 80 years.
Through the Structural Frame, my artwork explores codes and symbols that I felt represent the contrasts and continuity between past and present, between Mrs. Chifley and myself through the pages of the Australian Woman’s Weekly, and how the past and present can blend together through ambiguous layers of fragments, opacity, transparency and reflection.
Through the Postmodern Frame, this concept was realised through the experimentation of mixed media, collage and printmaking techniques that use process and surface excavation as an approach to image making through media sourced from The Australian Woman’s Weekly magazine from Mrs. Chifley’s Era and present day.
• John Stezaker
• Kurt Schwitters
• Njideka Akunyili Crosby
• Sammy Slabbinck’
Relfections and Fragments of Women Past and Present