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This work is about using what you have around you to create beautiful pieces of artwork for the home. Inspired by the home décor boards on Pinterest, this industrial style piece aims to show the viewer that they can design their home to have a ‘current’ style without having to buy something new. The statement “In style this summer... You sucker” and hashtag title #Kmartislife, coupled with the medium of trash, reinforces the idea that we live in a consumer society and that we need only to look inside our rubbish bins to see that. This piece is a call to all to help add beauty to our world by rethinking your spending and subsequent waste habits.
Piggy For Your Thoughts, 2017
In its original environment, this little piggy lacked visual impact; a dirty, neglected object in an
overcrowding garden filled with other miscellaneous repurposed items. If you saw this in my
mother’s garden, you would not take a second look; in fact, you probably would not have noticed it.
My aim was to capture this mundane piece of trash, known as a repurposed toilet brush holder in all
its unsightly state. However, by removing it from an untidy garden; to a simple clean studio, I have
unconsciously stripped away the original context of what I associated as trash, into a now somewhat
visually appealing sight. Does the difference between environment settings of a gallery or an average
home garden alter and influence our opinions on what we should consider art or trash? Is this
reproduction art or a capture of a mundane piece of trash merely glorified?
Empire of Stuff
The Virgin Protests Series, 2017
Empire of Stuff is a small design label created by artist Kirsti Lenthall, avid recycler and passionate peacemaker. For this body of work I have created a series of naive protest collages transferred onto flat vessels, which are salvaged and up-cycled antiques, mid century and modern day variants, constructed from porcelain, bone china and stoneware.
The Virgin Protests intend to explore the relationship between art and activism, by merging religious iconography and photojournalism from the last century with the everyday object. Historically, decorative plates were traded only for their aesthetic appeal between China and the Middle East… it wasn’t until the pre industrial times did the plate become the functional object we know today, easily accessible to the masses. Interestingly, the Chinese have one of the earliest historical accounts of a social protest movement, dating to around 600 B.C. By returning the humble plate to its historical, decorative roots, the useful plate no longer serves to be something useful… unless of course, revolution is on the menu.
Yellow Pages body, Brickwork, Preston and Irregular beautiful bodies, 2017
These prints reflect my notions of beauty, that are often forgotten or overlooked in society. I find there is beauty in the raw, the rustic and the oddly shaped! I'm beginning to use collage and found materials (like the yellow pages) in my work as there is so much possibility in mixing and matching 'trash'. I like things in life that are off-kilter whether it be people or landscapes as I find them 100 times more interesting that if something was plain. Beauty is in the eye of the beholder and I guess my eye is a little bit wonky!
JOAT (Jade of All Trades)
There can be beauty and value in the discarded. I walk the streets of Melbourne and am confronted with the stark truth that not all things are discarded responsibly, that for the sake of ease some people just throw or dump where they see fit. Choosing to ignore the fact that what they are dumping could quite possibly serve some other purpose or with a little care be sold on or given to someone else to love.
What if we were to change our perspective? What if we saw the potential for new life in something rather than throwing it away once it has served its intended purpose?
All it takes is foresight and imagination.
Through this body of work I intend to challenge and explore the impact, beauty and tragedy of living in a modern world that discards as quickly as it produces.
‘One womans trash....’, 2009
This is a fairly old work now and was part of a series of collage/mixed-media works using found and recycled objects. Re-use and re-purposing are still very much part of my practice however my materials have changed and my work is more sculptural these days. I was cleaning out my workroom recently and found this work tucked away in a box. I felt it deserved an airing. TRASHED is timely and NOIR the perfect space for that to happen.
Light Bulb Moment, Beauty Starts from the Inside and Puddle Dreams, 2013-14
I’ve been photographing Melbourne’s decaying, forgotten & hidden world for six years now.
I document what is left in our abandoned world, taking notice of the things that most people don’t see until they’re gone. I see beauty in the broken and dilapidated where others only see ruin and vandalism.
I have seen industries suffer and fall, icons and images of an earlier generation replaced with shopping centres, car parks, and materialism. I’ve seen the classic Aussie dream of a house and backyard mutate into tiny high-rise apartments, shiny and new on the outside, but small, cramped, and soulless on the inside.
My aim is to capture as much history and beauty I can, in the world I see and have come to know as the abandoned.
Proximity #001 and Proximity #002, 2017
"Where are we?"
"We're getting closer."
"Closer to what?"
Natalie Blom is a photography based artist living in Perth, Western Australia. Her practice is heavily based in analogue photography and in exploring the laws and limitations of the photographic medium.
This image is also from a series I made into a zine called Return. It is about my return to the rural town i grew up in after spending a couple years living overseas.
Skull Study, 2015
Skull study is one of my anatomy series that I produced using red wine, having once worked at a winery for an extended number of years. It brought me within close proximity of the organic material and through this the understanding of its ‘painterly’ quality immerged. Because of the wine’s chemical composition, the painting gets oxidised through time and changes its colour scheme. For this reason, I felt wine made an ideal medium for painting portraiture and the human form, as it reflects the natural process of aging.
The Gift in the Country, The Magic in the Canals and The Excess in the City, 2017
The 3 works The Gift, The Magic and The Excess are all painted on box lids that were recovered from the nature strip after being dumped. They are made from Plywood with a stapled Cardboard edge. In the modern world the excess of waste is so large that it is buried and burnt to dispose of it. This group of brothers; Luther, Jake, Kay, and Roman (The Magic). Terry and Reg (The Excess) and Frankie (The Gift) are all from the same family and are all pyromaniacs. The mediums are quite mixed in the paintings as the materials were recovered from the hard rubbish, the tip shop and illegal dumping.
Maybe in this day and age, a place for pyromaniacs does exist, but it’s with the waste and the trashed.
Soft Canvas, 2017
deconstruction, re-contextualise, reconstruction.
finding shape, form and texture from the everyday mundane to be reshaped, moulded, punched, scraped back, built upon and reborn. Finding the unhidden yet disregarded blemishes in everyday objects, challenging their existence, imagery and aesthetic. One is forced to leave the day-glo and create something new from the once used whilst not disregarding the impressions left from previous use.
My work predominantly explores the many different faces any object may display throughout its lifetime via a collection of mediums such as, found objects, painting and printmaking, and extends as far as sound and performance art.
Shit Fingers, 2017
There's a lot of focus on the archival quality of art but i feel like this point of view focuses on product rather than process. I sometimes feel this restricts my practice. The theme of the trashed show has let me investigate this ideology. Exploring disposability as a metaphor for advancing process, I set up a photo shoot using materials i found around my friend's house. After developing the film I then digitally scanned the negative complete with dust and hairs. It was then printed onto vinyl giving the work a new texture and the stigma of now being a plastic object. Each part of the process changes the original idea which continues on a journey, including the way the work is displayed in the gallery space.
Products are disposable ideas are perpetual.
Silvia A Sellitto
Anatomy of Preloved Roots, Anatomy of Exquisite Ladders and Anatomy of Liquid Eyeliner, 2017
“A Dark Anatomy of Trash”
The series of mixed media works include, Anatomy of an exquisite ladder, Anatomy of liquid eyeliner and Anatomy of uprooted preloved roots.
An intimacy between non-living, ready-made and macabre-esque forms is echoed throughout the work.
The physical lifespan of each photographed discarded matter is honoured and enshrined on paper - juxtaposed with a collaged memento mori motif referencing the transient presence of all earthly substances.
When hearing the world trashed, I didn't consider making this piece about general rubbish and filth, instead I was inspired by the critters and creatures who thrive on trash. After watching a documentary on rats over running New York City, due to it's trash problem. I decided to focus my main piece on rats, who are almost Gods or Overlords of Trash compared to other critters.
With this in mind about Gods and Rats, I decided to create a religious icon of a rat inspired by the crucifixion of Jesus, being surrounded by his disciples who watched on as he died. I achieved this by using a dead rat in the scene, dying on a mouse trap instead of a cross, with cigarette butts and used matches surrounding his head creating a halo effect. The cockroaches act as disciples, surrounding their fallen leader, and the maggot coming out of the gash in the rat's chest emphasises the death of the rat.
All these elements in combination were used to create Trashlord, the God of Trash.
Bin Night and Hard Rubbish, 2016
Much of my practice is about being able to capture moments in time and space. Observation is key to what I do. With my urban landscapes, I explore human interactions with the world. I look to observe that which we simply pass by and to find beauty in what might otherwise be considered ordinary.
Faces of Barbara, 2017
Trash: something that is broken or lopped off from anything in preparing it for use; remains.
Art: the quality, production, expression, or realm - according to aesthetic principles - of what is beautiful, appealing, or of more than ordinary significance.
When Barbara Millicent Roberts – AKA Barbie – first sashayed into toy shops in 1959, she challenged the notion that girls just wanted to play with dolls portraying babies that could be cradled and nurtured.
Arguably, Barbara’s adult features were a work of art in themselves. Her penchant for upscale fashion, flowing blonde locks, demure sideways glance, shapely figure and distinct breasts were a vision to behold.
So much, that Barbara became a cultural icon, depicted ubiquitously in mixed media artworks by artist Al Carbee; in works by artist Kenny Scharf and photographer David Levinthal; and perhaps most famously in painting by pop artist Andy Warhol, which sold at auction in 2014 for $1.1 million.
Warhol once famously declared, "I love LA. I love Hollywood. Everybody's plastic, but I love plastic. I want to be plastic." The Andy Warhol Foundation later went on to team up with Barbara’s creator, Mattel, to create an official Andy Warhol Barbie.
Last year, the Musée des Arts Décoratifs held a Barbie exhibit in The Louvre. It featured 700 Barbie dolls, works by contemporary artists, and documents contextualising Barbie.
The girl from Willows, Wisconsin, Barbara is possibly the perfect symbol of glamour, superficiality and consumerism, with her plastic face representing something profound about Western values.
But who is Barbara, without her body?
Vines through the Window, 2016 and Castle in the Sky, 2017
The crumble of the Australian home is something that I will always see and take a moment to reflect on. A place where once was full of life, that may have taken a turn for the worst but still look vibrant and completely unique. Their decomposition from being left alone, has also allowed for things to grow. What’s to become of them when the apartment/unit/townhouse blocks that are put up in their place? Will they ever look as beautiful as the previous residence?
The idea that these properties need to be demolished and built over the top, is a travesty to the history of Australian houses and architecture. I would trade up my avocado toast any day for the opportunity to live in these houses.
Mustard & Gold Disc Pin, Volume Tone Keeps Necklace, Praying Mary pendant & UFO Round Pendant, 2016-17
Since childhood I've been a collector/creator, so it made sense for me to simply create the jewellery I was seeking but not finding.
A fan of anything vintage, bold and unique, I was first drawn towards vintage makeup compacts in my jewellery making venture. Wishing to create a large circular pendant for myself, I was drawn to the compact's size (6cm diameter mostly), also their intricate features and enamelling.
I really liked the idea of the mirror on the back providing a practical function, giving multipurpose to the piece.
I liked that I was breathing new life into a visually stunning object, under-appreciated thing of beauty, most being denied the opportunity to glance upon its prettiness due to it's intended purpose in this world, which basically is to serve a person as a vessel for holding makeup, mostly confined to drawers and bags... And once the makeup is gone, the compact is redundant.
As a child I could be found in my dad's man cave with him teaching me how to use tools, or sitting at the kitchen table with the sewing machine & my Mother, who I regarded as the most stylish person I knew.
With two ethical, practical & resourceful parents
I was taught the importance of sustainability.
With limited resources as a child I would use natural matter collected from the bushland floor or the beach, rock pools & caves...to make pretty little things with. Interesting twisted bits of native woods, barks, Seed pods, Minerals, rocks, shells etc. Plus sandstone and charcoal to draw on rocks with.
Then I moved to Melbourne and discovered hard rubbish....
With aim of keeping my work as sustainable as possible I mostly recycle vintage over buying newly made supplies. Feeling we've become a throw away nation, and knowing that most things can find new purpose, if only it's one small component. What I've experienced by using this method is that you can stumble across otherwise undiscovered processes, styles and outcomes... resulting in the unique.
I previously worked as a graphic designer and sign-maker (six years, Supercreen Prahran) Where I picked up many useful skills relevant to jewellery making/design...
And with music being my greatest love, as both appreciator & musician... I'm heavily influenced by certain scenes and the fashion trends that go with.
Mod, underground, punk rock, rockabilly, shoegaze, psychedelic rock...
In a visual sense the 60s/70s era being my fave...
The Doors, Jefferson Airplane, The Stones... The Supremes- with their pretty mod dresses, Jimi Hendrix with his adornment of multi layered statement-piece necklaces and beads...
The boldness and detail of the psychedelic band posters of that time. All aesthetically exciting to me and all influencing my work in some way.
In recent years as an artist I had been co running Mr Mouth on Syd rd, Coburg.
No longer in existence Mr Mouth was an artist co-op where we created, collaborated and either sold or traded each other's art & wares as a collective. Work bench in middle of shop, vintage clothes swap, record player spinning... Aiming toward sustainability.
I'd happily create custom pieces for those requesting... and also jewellery repairs in trade for boxes of forgotten broken junk jewellery they no longer desired or saw purpose for, but I did. Excited by the possibility of what may evolve... Feeling exactly the same as kid Rachel walking through the bush, picking up rocks and sticks.