What makes me tick is thinking. Not so much the processes of making. They usually are a means to an end so in this sense I don't position myself as a studio crafts person. I enjoy crossing boundaries finding holes in fences and traipsing through other peoples' property.
I 'make do', that's how I describe my making processes. I gather and fossick about the place, gather bits and pieces and see what I can make from them.
I find myself 'always already' within simultaneous streams of feminism, queer and gender studies, men's liberation work, craft narratives and probably more importantly the place called 'folk'.
I make objects and I work with installation. I also 'draw' a lot but very rarely show this aspect of my practice, something I'd like to change in the future.
I investigate men's lives in and through textiles mostly. I do this in a folkloric fashion. By folkloric I mean the 'material culture' of working class and raised poor people. This means interpreting or re-interpreting men's lives through the medium of textiles and then looking at what happens.
It's a contradiction to do this work. I aim to open up the constructions of masculinity. And I do this from a liberation perspective.
The medium of textiles with all its associations real and fabled allows me the freedom to express emotions and to emulate closeness, the 'moving towards' the tacit tactile qualities of textiles as a medium that invites and allows.
Look quite honestly I'm a bit bone headed and I love a good fight or argument. As far as I can work out it all began because someone said I couldn't do it. So as my mother would say "it's like waving a red rag to a bull". Oh yeah and earlier, before being told that boys don't (cry) sew. Of course class oppression sets working class men up to not expect a lot and being 'creative' allowed me some lee way through this.
I reckon that as an artist I'm really lucky. I get to be involved with hope and hopefulness. It might sound corny but itís the razor edge of meaning and nostalgia I find myself working on.
I grew up in a small town in Western Australia (WA). I learnt drawing, painting, sewing and crafts (not to mention gardening) from country women. And I am so thankful to these women for giving me grounding in reality and integrity that forms the bedrock of my practice.
We were 'townies' we owned the local newsagency, It was a farming district and I grew up watching and learning how to make do with bits of wire and string.
Of course it wasn't all golden summers. I eventually left WA for the eastern states got formal qualifications in visual arts and began to practice at a professional level.
I love what I do and look forward to many more years of working it all out.
|2010:||Gudgenby - traces, Craft ACT: Craft and Design Centre - Canberra|
|2009:||Gudgenby Ready-Cut Cottage Residency, Namadgi National Park Visitors Centre - Canberra|
|2007:||Settings, Craft ACT: Craft and Design Centre - Canberra|
|2005:||Memories in Place: art in high country huts, Craft ACT: Craft and Design Centre - Canberra|
|2005:||Make the Common Precious, Craft Victoria - Melbourne|
|2004:||A Matter of Time, Tamworth Textiles Biennial, national touring exhibition - Tamworth, NSW|
|2004:||The Sleeper (24:7 II, public art program), Train Museum - Canberra|
|2003:||Exhibition Home (24:7 public art program), Public Housing - Canberra|
|2002:||14th Annual Australian Craft Show - Canberra|
|2002:||The Idea of Perfection, National Wool Museum - Geelong, VIC|
|2002:||The Idea of Perfection, Canberra Contemporary Art Space - Canberra|
|2001:||Interiors, Object Gallery - Sydney|
|2001:||Coverings, Craft ACT: Craft and Design Centre - Canberra|
|2001:||Warmth, Belconnen Community Centre Gallery - Canberra|
|2000:||Domestic Design, Craft ACT: Craft and Design Centre - Canberra|
|2000:||Close, Craft ACT: Craft and Design Centre - Canberra|
|1999:||Close, Australian National University School of Art Gallery - Canberra|
|1998:||Beautiful Home, Canberra Contemporary Art Space - Canberra|
|1998:||Excita, Australian National University School of Art Gallery - Canberra|
|1997:||Housework, private residence - Canberra|
|1995:||Ex. Str. Acting, Red House Gallery - Marion, SA|
|1990:||Angels and Others, Ruby's Cafe - Adelaide|
|2010:||R. Schiller, Telling Stories, Hand/Eye Magazine|
|2010:||Dr. S. Peoples, Gudgenby - traces, Craft ACT: Craft and Design Centre|
|2010:||D. Hare, 2010 Designing a Capital: Crafting a City, Craft ACT: Craft and Design Centre|
|2006:||B. McConchie, Memories in Place: art in high country huts, Craft ACT: Craft and Design Centre|
|2005:||K. Murray, Craft Unbound, Craftsmanshouse|
|2004:||Craft ACT: Craft and Design Centre, Craft ACT Accredited Professional Member Profile, Craft News|
|2004:||B. McConchie, Content(s): Significance and complexity in everyday objects, Craft ACT: Craft and Design Centre|
|2003:||A. Claxton, Expressions 2002, Magic Patch, France|
|2002:||F. Kenneley, Wild About Wool, FibreArts, USA|
|2001:||F. Kenneley, Masculine Perspectives, Canberra Times|
|2001:||M. Hinchliffe, Textiles convey a range of emotions, Canberra Times|
|1998:||E. Robertson, Home Sweet Home, Canberra Times|