Selected Works > Murky Territories

Murky Territories (I-X)
Monotype and acrylic wash on raw canvas
33cm x 71cm
2018
Murky Territories (I-X)
Monotype and acrylic wash on raw canvas
33cm x 71cm
2018
Murky Territories (I-X). Detail shot.
Monotype and acrylic wash on raw canvas
70cm x 31cm each
2018
Murky Territories: Hill Status / Statice. Detail shot.
Monotype and acrylic wash on raw canvas.
2018
Mapping / Forgetting
Permanent maker on raw canvas, wooden stake, rubber coated wire
117cm x 130cm x 3.5cm
2017
Between the Two (Study In-Tension).
Oil pastel on fragmented manila folder, wooden stake, rubber coated wire, upholstery nails, felt adhesive. 122cm x 25cm x 3.5cm. website
122cm x 25cm x 3.5cm
2018
Between the Two (Study In-Tension).
Oil pastel on fragmented manila folder, wooden stake, rubber coated wire, upholstery nails, felt adhesive
122cm x 25cm x 3.5cm
2018
Framing Device I & II (Altering the Lynch family archive)
Masonite, glass, metal clips, glass, thin wire, canvas, paper, pencil
30cm x 24cm each 2018
2018
Framing Device I & II (Altering the Lynch family archive)
Masonite, glass, metal clips, glass, thin wire, canvas, paper, pencil
30cm x 24cm each
2018
Framing Device I (Altering the Lynch family archive).
Masonite, metal clips, glass, thin wire, paper, pencil
30cm x 24cm
2018
Anxious Actions (For Lot 413)
TV, video featuring documented actions, manila folders, trapped documents from The ‘Hill Statice / Status’ Archive (courtesy of the artist)
Variable. Edition of 5.
2018
Anxious Actions (For Lot 413)
TV, video featuring documented actions, manila folders, trapped documents from The ‘Hill Statice / Status’ Archive (courtesy of the artist)
Variable. Edition of 5.
2018
Anxious Actions (For Lot 413). Detail.
TV, video featuring documented actions, manila folders, trapped documents from The ‘Hill Statice / Status’ Archive (courtesy of the artist).
Variable, Edition of 5.
2018

Lot 413 spans the hillside of Smiths Beach, in south-west WA, near Carly Lynch’s coastal hometown of Dunsborough. In considering the corruption which plagues the site and contributes to it’s uncertain future, Lynch presents a series of urgent marks, reactionary gestures and opposing forces in tension with one another within the gallery space. The motifs of the statice flower and fallen fence lines observed on-site recur in the works, indicating power, invasion and the hopeful potential of their removal. It is through these diverse forms, that Lynch grapples with both the archive of documents about the site, as well as her own feelings of anxiety towards it.

Carly would like to acknowledge the Wardandi Noongar, Wadjuk Noongar and Wurundjeri elders whose lands were never ceded and are custodians, respectively, of the land this artwork speaks of, was resolved on and is now being shown on. Carly would like to acknowledge their ongoing connection to land, sea and community and pay her respects to their Elders both past and present.

Exhibited in Gallery 2 at Seventh Gallery, Fitzroy, Melbourne.