In just one moment we can become nostalgic – when a visual sensation grabs our attention and draws us back in our own memory. The connection can be fleeting or it can leave you with an afternoon of reminiscing.
My art practise uses nostalgic triggers that pull the viewer into my work.
I call this Nostalgism.
I commonly use objects that have a place in memory, such as matchbox cars, or materials that have a connection to place, such as convict bricks. I create installations, sculpture, 2D work, public work, community projects and commissions using a broad range of mediums such as mosaic, photography, written text, acyrlic, light sources, ceramics and woodcarving. I enjoy driving community projects and teaching mosaics to all.
What is important to me is the reaction of the viewer to my work, as much as my purpose for making. More recently I have been using children’s nostalgia triggers, such as tongue twisters, toys, generic monster shapes etc which create a sense of play and humour, while delivering more serious messages.
The issues that keep resurfacing in my work are comments on social, environment and political changes.
I began my art practice in a shop on a bridge. We sold mosaic tiles in a Roman city in England. It was beautiful and inspiring. I'm now based in Tasmania, which is just as inspiring and just as beautiful. What both places have in common are bucket loads of issues to create from. We really only have one planet and only collectively can we help it stay/keep on track.
Art helps.
My art practise uses nostalgic triggers that pull the viewer into my work.
I call this Nostalgism.
I commonly use objects that have a place in memory, such as matchbox cars, or materials that have a connection to place, such as convict bricks. I create installations, sculpture, 2D work, public work, community projects and commissions using a broad range of mediums such as mosaic, photography, written text, acyrlic, light sources, ceramics and woodcarving. I enjoy driving community projects and teaching mosaics to all.
What is important to me is the reaction of the viewer to my work, as much as my purpose for making. More recently I have been using children’s nostalgia triggers, such as tongue twisters, toys, generic monster shapes etc which create a sense of play and humour, while delivering more serious messages.
The issues that keep resurfacing in my work are comments on social, environment and political changes.
I began my art practice in a shop on a bridge. We sold mosaic tiles in a Roman city in England. It was beautiful and inspiring. I'm now based in Tasmania, which is just as inspiring and just as beautiful. What both places have in common are bucket loads of issues to create from. We really only have one planet and only collectively can we help it stay/keep on track.
Art helps.
Portraits painted by Georgia Cox.
Pulteney Bridge by Donna Ritchie commissioned by Starbucks, Bath, UK. Photo credit Jo Hanuswewicz and Andrew Lockley.
