Sanctuary: The Making 2023

I started this project in May 2023. I had a vision. I devised a process. A process where I could get intimate with my materials and work slowly and not be rushed as most of us are coerced into these days with all the demands we have on our schedules, whether we put those demands on ourselves or because we don’t have the choice to slow down. As I continued to embark on this process, I realised how painstakingly slow and time-consuming it truly was. But I pushed myself to continue, not to give up. I was determined and stubborn, a glutton for punishment. Then as the weeks passed by, this project consumed my life. I became more and more isolated. Art-making, in general, can be an isolating practice, which doesn’t gel with my personality. I’m an extrovert, not your typical introverted artist. So now I am thinking of ways to develop a socially engaged project. Thinking, thinking, thinking. Let’s see what manifests in the future.

Sanctuary is made up of washi, kozo and tengucho* papers, which are stained with mineral pigments and plant dyes that I foraged in my local reserves – the Yarra and Banyule Flats. Ochre, ironbark sap, wild berries, eucalyptus leaves, flower petals, invasive weeds and grass have been used to create theses pigments and dyes.

* Tengucho paper is an extremely thin, specialist Japanese paper, weighing 9gsm, traditionally used for archival conservation and restoration of damaged documents. The tengucho paper used in this installation is synonymous with the intent to conserve and restore our ecosystem.