2022 STUDIO WORK - TOOLS OF DOMESTICITY - gender roles - covid questions

2021 STUDIO WORK -TURF - reconsidering grasslands - Paris re-occuring

Turf has been the most used medium in landscaping since the 16th Century. From the Zoysia sodding fields of Japan to the privately owned Chamomile fields of France to the modern parklands and sport grounds used as civic community space.

The Turf Series stems from the questioning of human obsession to control and own the natural world. I see the lawn as signifying colonial acquisition, of privilege and a problematic heritage that still holds root. It is a reminder of western pastural foundations, aristocratical dominion and in modern times an unobtainable dream for the next generation.

After returning from my residency in Paris in January 2020 I became obsessed with grass as a concept. I had for years had a personal mowing addiction in my little back garden spending countless hours sowing and tending to its thirsty needs. During lockdown I started planting grass in buckets confining and controlling its growth. My son cared for these tufts during his covid confinement and I hoped it created a sense of nature in his cement cage.

In the 16th century the cultivation of landscape through the use of lawn was fashionable by wealthy land owners in France and England manufactured stretches or land to resembled glades. A lawn was a mark of stature and wealth, not used for food or dwellings this lands pure purpose was for frivolous adornment.

Colonialism saw grasses which were more favourable for their imported stock exported and taken around the world without care or thought of the destruction of endemic grasslands.

The 19th century term park was used to describe acres of lawn which eventually becoming public areas, grass migrated from these public spaces back to private yards where households could create their own connection to nature and showcase their own stature of ownership. Think the 50’s “perfect” nuclear family image with the lawn out the front and the victor mowers adds synonyms on weekend home ownership duties.

The unachievable plastic ideal of the cultivated 1950’s front lawn could now represent the unobtainable and unrealistic expectations of and on our current generation… not only the dated “ideal” family unit but in home ownership in general especially in the current climate…,….

2020 MEDIAN24 MERCURY BUILDING HOBART

A shadow of a non existent building is captured and a once fleeting moment is presented as a permanent cast. The geometric form ebbs and morphs as one walks through the space reminiscent of its original umbratic conception.

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2020 GOOD GRIEF STUDIOS HOBART

2020 STUDIO WORKS - post paris musings

ideas concerning trees, controlling nature and playing with what a patch of grass means and how its used both domestically and socially to different cultures..

2020 installation support and roofline design for La more mi troverà vivo - Contemporary Art Tasmania - Artist - Mat Ward

2019 PROOFSPACE

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2018 BEYOND THE FIELD STILL -

CONTEMPORARY ART TASMANIA

2016 - NEW WORKS - THE RAT PALACE - HOBART

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2008 Unsustainable Weight of Place - INFLIGHT/Watch this Space - Alice Springs

Carolyn Wigston September 24, 2015

Unsustainable Weight Of Place is a response to the idea of 'place' from eight artists involved with INFLIGHT ARI in Hobart, Tasmania.

The exhibition involves two approaches: the first is a response to the artists own impressions of Alice Springs from a distance; and the second is a response to their direct experience of Alice Springs, formed during their stay. Of course, the impression is a result of other experiences...and in only a few days, the experience is just an impression.

Kate Kelly, Benjamin Kluss, Paula Silva, Rob O'Connor, Cath Robinson, Rebecca Stevens, Mat Ward, Carolyn Wigston.