The Bride’s Room was part of Prima Materia, curated by Emily Jones, which also featured the work of Julie Gough, Alicia King, Linda Persson (SWE), Andre Piguet, Michael GF Prior, Yhonnie Scarce and Zilverster (Goodwin and Hanenbergh).
Bundoora Homestead May - July 2019
The Bride’s Room reimagined tropes of feminine identity through an exploration of a materiality that is both domestic and uncanny. Taking Marcel Duchamp’s Large Glass as a reference point, the work imagines a new narrative for the Bride, one in which she escapes from between the panes of glass, only to find herself navigating a new terrain. The work consists of a collection of part objects in a site containing fragments of various domestic signifiers: IKEA furniture, the chequered pattern of a kitchen floor, bathroom tiles, ubiquitous mirrors. Substances associated with cleansing and beautifying such as soap flakes, soap and wax are transmuted into fragmented, abjected forms that examine notions of beauty and domestic labour. This work cites the private realm of the female subject and the relationship between one’s interior and exterior landscapes in the construction of identity.