Only fools, said the sparse ribbed rock, are ever lonely : multiplicity of voice and materiality in a contemporary art practice : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand

Abstract

This exegesis explores the trajectory of my artistic practice between 2017-2018. It begins with a primer discussing my previous work in relation to notions of 'history’ and ‘truth’, in order to unpack and interrogate these contexts further. From this foundation, I discuss how my current work engages with histories and texts, in order to open up more subjective experiences and feeling—exploring what form ‘a multiplicity of voice’ might take in a contemporary art practice.

Beginning with the text and audio-based works 𝘊𝘢𝘴𝘵 𝘮𝘦𝘢𝘴𝘶𝘳𝘦𝘮𝘦𝘯𝘵 𝘢𝘴𝘪𝘥𝘦 2018 𝘢𝘯𝘥 𝘋𝘰𝘦𝘴 𝘵𝘩𝘦 𝘣𝘳𝘪𝘤𝘬 𝘳𝘦𝘤𝘢𝘭𝘭 𝘗𝘶𝘬𝘦𝘢𝘩𝘶 2017, Chapter one explores time and the resonance of material within my recent work. It considers the role of audio and text-based works within a sculptural practice.

In chapter two, I locate my artistic practice within a local contemporary conversation about decolonial and indigenous art practices. I discuss this in relation to my online work 𝘛𝘪𝘮𝘦 𝘪𝘴 𝘯𝘰𝘸 𝘮𝘦𝘢𝘴𝘶𝘳𝘦𝘥 𝘪𝘯 𝘥𝘢𝘮𝘢𝘨𝘦, 2018, which takes a family taonga as a starting point to weave together different narratives and kinds of knowledge.

Chapter three focuses on the development and context of my large-scale sculptural work 𝘖𝘯𝘭𝘺 𝘧𝘰𝘰𝘭𝘴 𝘢𝘳𝘦 𝘭𝘰𝘯𝘦𝘭𝘺, 2018. This includes an in-depth engagement with Shona Rapira-Davies’ public sculpture 𝘛𝘦 𝘞𝘢𝘪𝘮𝘢𝘱𝘪𝘩𝘪 or what is commonly known as 𝘛𝘦 𝘈𝘳𝘰 𝘗𝘢𝘳𝘬, 1988-1993.

This discussion opens up an expansive field of enquiry within my practice, suggesting further areas of development and exploration.