{"id":5841,"date":"2023-02-23T17:50:13","date_gmt":"2023-02-23T06:50:13","guid":{"rendered":"http:\/\/www.melissacameron.net\/blog\/?page_id=5841"},"modified":"2024-10-16T13:05:10","modified_gmt":"2024-10-16T02:05:10","slug":"main-website","status":"publish","type":"page","link":"https:\/\/www.melissacameron.net\/blog\/?page_id=5841","title":{"rendered":"Spotlight"},"content":{"rendered":"\n
Current CV<\/a><\/h6>\n\n\n\n
2023<\/h5>\n\n\n\n

Current research includes:<\/p>\n\n\n\n

1\/ collaborating with architect leads vittinoAshe<\/a> alongside Brendan Moore<\/a> (Southwest Aboriginal Land and Sea Council) and Syrinx<\/a> for an artwork as part of the upcoming Fremantle Biennial<\/a> Pavilion. <\/p>\n\n\n\n

2\/ the generation, creation and installation of a public artwork for Murdoch Square<\/a>, to be delivered later this year.<\/p>\n\n\n\n

2021 – 2022<\/h5>\n\n\n\n

New jewellery works:<\/p>\n\n\n\n

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L-R Remade-Reloved<\/em>, remade recycled jewellery; pixel rings; already taken<\/em>, 2022. Made from a collected part of the Rabbit Proof Fence, as shown in the exhibition Island Welcome<\/em>.<\/figcaption><\/figure>\n\n\n\n

Above are works made in 2022 for the curated exhibitions Island Welcome<\/a><\/em> and Remade-Reloved<\/a><\/em>, and a collection of rings made for my annual studio party. <\/p>\n\n\n\n

Juukan Tears<\/h4>\n\n\n\n

The image below is of Juukan Tears<\/a><\/em>, a piece commissioned for the Indian Ocean Craft Triennial<\/a> (IOTA:21) in Perth in 2021. In 2022 it was finalist in the North Sydney Art Prize<\/a>, and was on display at the Coal Loader Centre for Sustainability in North Sydney in May 2022.<\/p>\n\n\n\n

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Juukan Tears, 2021. Recycled roofing steel (from the artist’s own back shed) chromed steel chain.
2.6m long 4m tall, 5cm wide<\/figcaption><\/figure>\n\n\n\n

I have made multiple posts on this blog<\/a> about the design and making of this work, including an artist statement<\/a>. <\/p>\n\n\n\n

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Juukan Tears Offcuts, 2021 – 2022. Recycled steel (from the artist shed) stainless steel.<\/figcaption><\/figure>\n\n\n\n

Juukan Tears Offcuts<\/a><\/em> (a limited series made with the fabrication remnants of Juukan Tears<\/em>) was again a touring companion for the larger work in Sydney, in 2022, while in 2021 Garland Magazine<\/a> asked me to write about the series.<\/p>\n\n\n\n

2019 – 2020 <\/h5>\n\n\n\n

Everything Must Go; Marfa, TX; Connexions<\/h4>\n\n\n\n
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Everything Must Go, 2020. Found steel rack, stainless steel chain links, card, mdf. Green rack found discarded on my street, March 2020.<\/figcaption><\/figure>\n\n\n\n

I detailed my 2020 lock-down project Everything Must Go<\/a><\/em> on this platform, and a recent solo exhibition at Bilk Gallery, Marfa, TX<\/a>, (2019). Also documented are my curatorial experiences, including as Connexions<\/a><\/em> (2020-2021).<\/p>\n\n\n\n

2017-2018 <\/h5>\n\n\n\n

Winner – Raphael Prize <\/h4>\n\n\n\n

Contemporary Craft, Pittsburgh<\/h4>\n\n\n\n

I use this blog as a research platform. It contains dozens of posts written as background to my Raphael prizewinning piece 1.1.2017<\/a><\/em> (2017-2018). Using online sources I researched each of the guns used on one day of gun violence in the USA. For ten months of Mondays I detailed my findings, and my drawings of the weapons. I then paired the drawings with objects found in each of the towns where the weapons were used to kill, to make the piece 1.1.2017<\/em>. This short film captures the project:<\/p>\n\n\n\n

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