This is Sublime, 2013
Škofja Loka is a town of historical significance. Tourists visit to see the Renaissance plaster work in the town square.
This is Sublime is series of plaster plaques which I installed in Škofja Loka’s historical centre as an alternative trail around the town. They are humorous take on Jean Francois Lyotard’s philosophy of Kant’s sublime.
Conceptions of cultural significance
My plaster casts took inspiration from these Renaissance buildings but invited people to look more closely at parts of the town which are often ignored or considered less beautiful.
In many ways these places reflect more about the real life of the people who live and work in the town.
George Makes progress on the farm, 2014
Playing with cultural power dynamics and stereotypes in George Makes progress on the farm, a Londoner learns to reverse a 1950’s Yugoslavian made tractor through a field in rural Slovenia.
Testing the ‘joke’ that women are inferior drivers, George’s ability to adapt to her new environment challenges ideas about urban elitism and chauvinism.
Dancing Lace, 2013
In Dancing Lace I dance on a giant collagraph and print a dress. The pattern printed on the fabric references traditional lace patterns typically worn at weddings and important ceremonies. Dancing Lace was a ceremony that symbolised a departure from heteronormative culture and a lifelong commitment to my work.
With these hands, 2014
A visual metaphor representing the heart, With these hands, features hands working together in order to function.
Love’s Limit, 2014
In Love’s Limit a condom is inflated in a very un-erotic manner and is a visual metaphor for imminent emotional deflation. This piece shows how even when an experience (like love) is repeated it is different each time.
Shadow drawing, 2014
Artist Evelina Hägglund and I try to draw each others shadows and attempt to pin down an ephemeral experience or fleeting moment.
Experiments and best (un)made plans
Newton’s Cradle 2014 was an attempt at making the ultimate executive toy out of beer bottles. I was thinking about how the central ball never really moves as a metaphor for social hierarchies.
I made a series of tautological signs in the style of road signs and erected them in the town.
In Dance of Death, 2014 I hijacked a disco at the youth club and played a Medieval ‘Dance of Death’ tune.
Atelje Clobb Residency
From 2013- 2014 I was artist in residence at Atelje Clobb, Škofja Loka, Slovenija. The residency was hosted by the local Zavod (or community organisation), Zavod O.
Clobb Artist Residency
I had a studio space at Clobb and worked there 7 days a week blending my artist residency work with the community studio and engagement work I opted to do.
I was inspired to undertake this residency to experience life in a rural context that was previously a part of the former Yugoslavia. The work that I made during this time was very experimental and responded to the wider context of the culture. Exploring different engagement, storytelling and narrative approaches instrumentally shaped the work I made during the residency and overall approach.
I remain friends with many of the artists and thinkers I met, lived with and collaborated with during this period.
Community Arts Studio
As part of my residency at Atelje Clobb, I devised and ran engagement programs for children, young adults and older learners, supported music nights and organised happenings and events.
I ran an art program for adults and weekly workshops with children and young adults at the studio. I also ran an engagement program for young people at the local gymnazia (secondary school) in order to recruit interest in the community arts program. I organised exhibitions in the local library and in local restaurants for the work that came out of the community arts programs.
During the summer I ran an Atelje Clobb stall each weekend where I sold local craft work and did face painting to raise money (and the profile of) Clobb studio and community programs.
