"These works explore the language of the press and official legal documents covering recent amendments to section s61HA of the NSW Crimes Act 1900 that have re-considered the specifics around consent. The title of these works, Myths & Facts is some such language pulled from a fact sheet issued by the Rape & Domestic Violence Services Australia (formerly NSW Rape Crisis Centre) which is often offered as a educational resource in discussions surrounding the amendments. Language, particularly in the case of Legal English and its subsequent life in the press, comes then to represent a disconnect between lived experience and the law and order activities that govern them."
I think both myself and Lukiah Bodley work with a consciousness of the potential for heavy exposure, for parts of ourselves which cannot be seen without (social) technology. I am interested in fine distinctions made between people and how that connects with labour. The public separation and ranking of bodies as discrete entities/enterprises can be witnessed as a forced structure, considering the explicit, physical ways in which bodies of labour coalesce in private.
"Both Ainslie and I do our work from our mobile phones. So all of the writing, editing, co-creating and conferencing was confined to, or perhaps amplified by, the user interface, comms channels and applications of our mobile devices. As such, the work-process (labour) had a strange in betweenness to it, a funny kind of distanced interactivity. Personally, I am interested in how we move above, through and within the cyber-physical systems of modern capitalism. We find ourselves constantly divided and indexed by the 'digital' - our work, our labour interface and interweave with code/data. We are told to build 'portfolio' careers and 'portfolio' bodies and 'portfolio' selves."
"As a disabled trans person, I often wish that I could be both more and less visible. By this I mean that I wish that a non-normative body was not just tolerable but accepted and that I had more control over the conditions of my visibility. I also wish that I was able to lift up my family and enable my community to be seen and supported, instead of continuing to live through generational poverty and poor socio-economic conditions... I feel like my work is presented in this spirit - to uplift an underrepresented community of people"
I am an artist based in Sydney, Australia. I acknowledge the Gadigal people of the Eora Nation, the traditional custodians of the land on which I live, work and learn. I pay my respects to elders past, present and all First Nations people.
There are three interconnecting strands to my practice, I photograph movement, document my life and organise shows.