Hill Status / Statice
The ‘Statice’ flower (Limonium Sinuatum and Limonium Perezii) in bloom along the coastline was something synonymous with Carly’s early memories of her hometown of Dunsborough (south-west WA). It made her feel a sense of comfort and adoration for the place. This year Carly found out it is an invasive weed, introduced post-colonisation via the cut flower industry. She has never felt those feelings since.
Carly remembers her Father being heavily involved in the ‘Save Smiths Beach’ campaign throughout her childhood. Troubled by faint memories of that time, Carly started looking into the murky dealings now exposed in relation to Lot 413, commonly known as the hillside of Smith’s Beach. She collated an archive, read attentively and was constantly confronted by the sheer mass and complexity of what she found out. She began to draw statice flowers. In an unexpected turn of events, the hillside sits partially developed; for now.
This body of work features drawings full of competing voices, evoked by varied handling and use of colour. They buzz with recurring marks, shapes and crude omissions, resulting in a purposely urgent approach. Fragmented manila folders have been used as the surface on which these anxieties play out; a messy paper-trail of drawings with vastly different ‘voices’, titled in relation to real comments within the archive Carly has amassed and which viewers can leaf through. The statice flower has been used as a reoccurring motif to speak of the underlying invasiveness of development in littoral zones and on a broader level, the status procured through land ownership in a settler-colonial context. The wire references a fenced boundary, whilst formally echoing the ridge-line which lies beyond Lot 413.
This was exhibited in 'Worldline' curated by Eve York at City of Greater Geraldton Regional Art Gallery. This exhibition was a survey of exceptional, emerging West Australian artists who all grew up in regional towns around the state.