MAPPING SKIN

After being selected to participate in an arts residency in remote Iceland, I lived and worked in a studio space in a small fishing town of less than 500 residents over three of the darkest, coldest winter months. It was particularly interesting to explore the polarities between Iceland and Australia, as I live in the cosmopolitan hub of the city, where society is predominantly focused on material goods and reinforcing the cycle of consumerism. In cities such as Melbourne, we are less likely to respect, understand, or save our environment as we feel far removed from it. Brands have dominance over people, and people have dominance over the environment.  In Iceland, these structures were deconstructed . Nature holds complete dominion, as roads close and transport halts completely if the weather changes. Nature decides where you can go, how you can live, and demands your respect. And Icelanders are more than willing to give their respect, as it is commonly understood you must not tread upon the moss which takes decades to grow, and you must not litter.

- Volume 02 -

This series of portraiture explores the dichotomy between rural cultures and their relationship towards the environment, and the demands of a consumer-obsessed culture. The works are completed in-situ, focusing on the human impact within glacial regions and environments. This is an ongoing project which examines unique individuals and communities around the world and their relationship to nature, as a means of understanding the artist's own experiences in the liminal space between a consumerist city environment and the barren hinterlands.

2016 - 2017

PARADISE

Ink on A3.
270,000 dots.

MOONCHILD

Ink on A3.
158,400 dots.

MARKUS

300 x 300
108,000 dots.

CIRILLO

Ink on A3
72,000 dots.

LOST

Ink on A4.
180,000 dots.

WONDERFUL AND STRANGE

Ink on A4.
180,000 dots.