Desire Production
Artificial sweetener, marshmallow, pine, Tasmanian oak, amps, speaker wire, speakers, tactile transducers, ipod, laptop
Sweetness, as both a taste and a human quality, is considered desirable. The assemblage, ‘Desire Production,’ considers the mechanisms that produce sweetness. The timber structure functions as a sieve, yet this utensil isn’t dusting cakes. Stainless steel mesh cradles artificial sweetener. The chemical substance duplicates the taste of sugar but not the energy. The deceptive sweetness is deployed as the rhythmic beat transforms into ear-splitting frequencies. This interaction is comparable to avoiding conflict or harm by being compliant—an artificial pleasantness created from fear.
The transformative material qualities of the timber, marshmallow, and sound render the structure analogous to the body. The traditionally straight and unyielding timber bends to support the sieve, revealing its materiality as neither hard nor soft. Employing marshmallow as a mechanical fixture, the structure embodies an elastic solidity. The force of the sound system causes material collisions that make the assemblage tremble like a sentient being. These fluid materials evoke the body as changeable, thawing preconceived ideas.
If someone would just change the song.
Exhibited at Wreckers Art Space, Woolloongabba, Brisbane
Documentation by Charlie Hillhouse
Sound assembled by Shannon Toth
Exhibition text by Molly Smith
Artificial sweetener, marshmallow, pine, Tasmanian oak, amps, speaker wire, speakers, tactile transducers, ipod, laptop
Sweetness, as both a taste and a human quality, is considered desirable. The assemblage, ‘Desire Production,’ considers the mechanisms that produce sweetness. The timber structure functions as a sieve, yet this utensil isn’t dusting cakes. Stainless steel mesh cradles artificial sweetener. The chemical substance duplicates the taste of sugar but not the energy. The deceptive sweetness is deployed as the rhythmic beat transforms into ear-splitting frequencies. This interaction is comparable to avoiding conflict or harm by being compliant—an artificial pleasantness created from fear.
The transformative material qualities of the timber, marshmallow, and sound render the structure analogous to the body. The traditionally straight and unyielding timber bends to support the sieve, revealing its materiality as neither hard nor soft. Employing marshmallow as a mechanical fixture, the structure embodies an elastic solidity. The force of the sound system causes material collisions that make the assemblage tremble like a sentient being. These fluid materials evoke the body as changeable, thawing preconceived ideas.
If someone would just change the song.
Exhibited at Wreckers Art Space, Woolloongabba, Brisbane
Documentation by Charlie Hillhouse
Sound assembled by Shannon Toth
Exhibition text by Molly Smith
10/8/2024 - 12/8/2024
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Compression Repression
Marshmallow, pine, icing sugar
Compression Repression fleshes out the dynamics between food and embodied experience by employing the confectionary treat, marshmallow. Marshmallow is made up of sugar and gelatine. Once ingested these materials become useful carbohydrates and proteins for the body. The same materials exist in human mucus, which is produced by the body at times of infection or arousal. Mucus creates a layer of protection, like a blanket over vulnerable parts of the body.
As a food, the marshmallow situates its purpose within the body, however, it also appears to be a pillowy and soft textile. Draped over the pine spine, the weight of the marshmallow compresses the elasticity of the timber. The form of the marshmallow suggests comfort however the mechanics of the structure indicate the corporeal structure is under duress. Excess lengths of marshmallows accumulate in folds around the base of the structure. The security blanket is slipping—it is no longer required.
Exhibited at Melbourne Art Fair with First Draft
and at 138 Gallery, Brunswick, VIC
Documentation by Lucy Foster
MAF Room Sheet
138 Gallery Room Sheet
Marshmallow, pine, icing sugar
Compression Repression fleshes out the dynamics between food and embodied experience by employing the confectionary treat, marshmallow. Marshmallow is made up of sugar and gelatine. Once ingested these materials become useful carbohydrates and proteins for the body. The same materials exist in human mucus, which is produced by the body at times of infection or arousal. Mucus creates a layer of protection, like a blanket over vulnerable parts of the body.
As a food, the marshmallow situates its purpose within the body, however, it also appears to be a pillowy and soft textile. Draped over the pine spine, the weight of the marshmallow compresses the elasticity of the timber. The form of the marshmallow suggests comfort however the mechanics of the structure indicate the corporeal structure is under duress. Excess lengths of marshmallows accumulate in folds around the base of the structure. The security blanket is slipping—it is no longer required.
Exhibited at Melbourne Art Fair with First Draft
and at 138 Gallery, Brunswick, VIC
Documentation by Lucy Foster
MAF Room Sheet
138 Gallery Room Sheet
22/2/2024 - 25/2/2024
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Protector
Marshmallow, pine, icing sugar
In this exhibition, marshmallow is used to create a large folded object and bind together a curved pine structure. The marshmallow appears to be pillowy and soft like a doona or blanket but is also pliable and plump-like flesh. The folded form of the object suggests domesticity like it belongs in the linen cupboard.
The curved pine structure has the dimensions of a single bed frame, yet it’s warped and balances precariously on a curved edge, rocking like a baby’s cradle - but for an adult body. While a child is nursed and comforted by a rocking motion, the same action in an adult-sized bed suggests a sexual act.
It is absurd to rely on marshmallow for a blanket and a distorted rocking bed for comfort and protection, but if it’s all you’ve got then it’s a perfectly viable adaptation.
Exhibited at First Draft, Sydney
Documentation by Jessica Maurer
First Draft Room Sheet
Text by Keesha Catherine Field
Marshmallow, pine, icing sugar
In this exhibition, marshmallow is used to create a large folded object and bind together a curved pine structure. The marshmallow appears to be pillowy and soft like a doona or blanket but is also pliable and plump-like flesh. The folded form of the object suggests domesticity like it belongs in the linen cupboard.
The curved pine structure has the dimensions of a single bed frame, yet it’s warped and balances precariously on a curved edge, rocking like a baby’s cradle - but for an adult body. While a child is nursed and comforted by a rocking motion, the same action in an adult-sized bed suggests a sexual act.
It is absurd to rely on marshmallow for a blanket and a distorted rocking bed for comfort and protection, but if it’s all you’ve got then it’s a perfectly viable adaptation.
Exhibited at First Draft, Sydney
Documentation by Jessica Maurer
First Draft Room Sheet
Text by Keesha Catherine Field
08/12/2023 - 28/01/2024
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Falling Flawed
Marshmallow, pine, scaffolding, bitumen, rope, sugar, water, cooking pot, fountain pump
VCA Grad Show 2022
Documentation Christo Crocker
VCA Catalogue
Marshmallow, pine, scaffolding, bitumen, rope, sugar, water, cooking pot, fountain pump
VCA Grad Show 2022
Documentation Christo Crocker
VCA Catalogue
27/11/2022 - 1/12/2022
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Beating, Bleeding, Breathing
Marshmallow, pine, icing sugar, ipod, heavy kicker bass .wav track, speaker
Beating, Bleeding, Breathing uses electronic dance music, pine and excessive quantities of marshmallow to reconstruct embodied experiences. The materials transform. They seep, mutate, copulate, gestate, salivate, solidify, de-solidify, cruise, bruise, bleed, bend, bulge, and bond. The tension and uncertainty between the materials are palatable. The speaker plays a bouncy track that never evolves: an endless bass creates the sensation of being stuck or held in a loop. Over time, the sound shifts from joyous to an assault on the senses. The weight of the speaker is holding the structure together however the vibration of the music causes the laminated timber to ooze a white substance.
Exhibited at Fiona Sydney Myer Gallery for Majlis Travelling Fellowship
Documentation by Christo Crocker and Shannon Toth
Sound: Heavy Kicker Bass by Shannon Toth
Fiona Sydeny Myer Gallery Catalogue
South Bank News
Marshmallow, pine, icing sugar, ipod, heavy kicker bass .wav track, speaker
Beating, Bleeding, Breathing uses electronic dance music, pine and excessive quantities of marshmallow to reconstruct embodied experiences. The materials transform. They seep, mutate, copulate, gestate, salivate, solidify, de-solidify, cruise, bruise, bleed, bend, bulge, and bond. The tension and uncertainty between the materials are palatable. The speaker plays a bouncy track that never evolves: an endless bass creates the sensation of being stuck or held in a loop. Over time, the sound shifts from joyous to an assault on the senses. The weight of the speaker is holding the structure together however the vibration of the music causes the laminated timber to ooze a white substance.
Exhibited at Fiona Sydney Myer Gallery for Majlis Travelling Fellowship
Documentation by Christo Crocker and Shannon Toth
Sound: Heavy Kicker Bass by Shannon Toth
Fiona Sydeny Myer Gallery Catalogue
South Bank News
09/09/2022 - 1/10/2022
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