paper cut installations
Sugaropolis, Artspace Mackay CQUniversity Wall, March - August 2020
Artist statement
When researching about Mackay for my artist residency, I became drawn to the history of the area’s heritage listed buildings and the sugar industry. The architecture of historic buildings and homes stand as a distinct feature of Mackay, and I was drawn to Georgian (1830s) and Federation (1890-1914) styles due to their resonance with Japanese design aesthetics of harmony, symmetry and floral embellishments. These buildings have stood the test of time, and are a daily visual reminder for the town’s modern history, whilst accommodating Mackay’s continuing generations.
I found the sugar history of Mackay provided a rich context to the development of environmental changes in the area, and its connection to the region’s Japanese labourers in the 19th century. As reported in The Mercury, 19 July 1898 ‘No one will regret more than the sugar growers themselves the necessity which compels them to employ Japanese labourers for the harvesting of their crops!’
With over 5000 acres of sugar cane fields by 1874 in Mackay, it is easy to understand how the region was producing over a third’s of the State’s sugar at this time. With factors such as land clearing for crops, to biological pest control measures with the introduction of cane toads in 1935 at a failed attempt to control the cane beetle grub infestation, sugar has in many ways, continued to impact the environment of Mackay.
Sugaropolis is an installation that incorporates Mackay’s architectural patterns from its beautiful buildings, with the molecular structure of sugar granules and microscopic images of the sugar cane plant, as a homage to the industry and the role it has played in history here. Using paper and paint, this installation draws upon two built environments which have continued to shape the land and the community.
When researching about Mackay for my artist residency, I became drawn to the history of the area’s heritage listed buildings and the sugar industry. The architecture of historic buildings and homes stand as a distinct feature of Mackay, and I was drawn to Georgian (1830s) and Federation (1890-1914) styles due to their resonance with Japanese design aesthetics of harmony, symmetry and floral embellishments. These buildings have stood the test of time, and are a daily visual reminder for the town’s modern history, whilst accommodating Mackay’s continuing generations.
I found the sugar history of Mackay provided a rich context to the development of environmental changes in the area, and its connection to the region’s Japanese labourers in the 19th century. As reported in The Mercury, 19 July 1898 ‘No one will regret more than the sugar growers themselves the necessity which compels them to employ Japanese labourers for the harvesting of their crops!’
With over 5000 acres of sugar cane fields by 1874 in Mackay, it is easy to understand how the region was producing over a third’s of the State’s sugar at this time. With factors such as land clearing for crops, to biological pest control measures with the introduction of cane toads in 1935 at a failed attempt to control the cane beetle grub infestation, sugar has in many ways, continued to impact the environment of Mackay.
Sugaropolis is an installation that incorporates Mackay’s architectural patterns from its beautiful buildings, with the molecular structure of sugar granules and microscopic images of the sugar cane plant, as a homage to the industry and the role it has played in history here. Using paper and paint, this installation draws upon two built environments which have continued to shape the land and the community.
Sugaropolis I, 2020
Hand cut polymer paper
1.7 x4m
Sugaropolis II, 2020
Hand cut polymer paper
1.7 x4m
Sugaropolis III, 2020
Hand cut polymer paper
1.7 x4m
Museum of Brisbane, Artist Residency 10-18 June 2017, Brisbane City Hall
Artist StatementOver 10 days as artist-in-residence, I undertook intense research into the design and architecture of Museum of Brisbane and Brisbane City Hall. After taking a tour of the City Hall several months ago, I learnt that this building has an eclectic mix of neo-classical Greek and Roman refences alongside art deco styling of the 1920s-construction era. The building is bursting with ornate embellishments, with many of these designs and patterns encompassing a purpose or meaning behind them. During the first couple of days in the studio, I created studies of patterns in the window panes, mosaic tiles, ceiling designs and the original hand-drawn architectural plans of the building. These studies have then informed this site-specific installation of hand cut paper works, as a homage to the rich tapestry of patterns within the building. I invite viewers to seek these patterns out within Museum of Brisbane and with a Brisbane City Hall Tour, so you too can appreciate the intricate beauty of this historical place.
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Onespace On-Site #001 REI + WERNER, Onespace Gallery, Brisbane, 2-16 March 2017, in collaboration with Benjamin Werner
Artist Statement
This installation was a collaboration with Brisbane artist Benjamin Werner. We were handed the keys to the gallery space for two weeks to play and experiment within both our practices. Together we created a work that explores the patterns found in the city's construction landscape and night time lights. Works are created with hand cut and folded paper, paint on canvas, acrylic, and vinyl.
This installation was a collaboration with Brisbane artist Benjamin Werner. We were handed the keys to the gallery space for two weeks to play and experiment within both our practices. Together we created a work that explores the patterns found in the city's construction landscape and night time lights. Works are created with hand cut and folded paper, paint on canvas, acrylic, and vinyl.
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The King's Confidant, Paper cutting installation. On display at the Ivory Street Gallery, Artisan, Brisbane: June-August 2016
Artist Statement
This work features a site-specific paper cut installation in the Ivory Street Gallery inspired by the medieval stained-glass window designs in the old King's quarters of the Tower of London. The larger-than-life 'stained glass window' displays a large yet intricate black paper cut, made to fit the entire window of the gallery, suspended from the ceiling, and ultimately turning the whole gallery space into a stained glass window.
The design features elements of the medieval window at the Tower of London where former Kings had a private prayer space within their living quarters. Through the final design and title of the show, I played with idea that these windows were privy to royal confessions and prayers, becoming the intimate confidants of past Kings.
This work features a site-specific paper cut installation in the Ivory Street Gallery inspired by the medieval stained-glass window designs in the old King's quarters of the Tower of London. The larger-than-life 'stained glass window' displays a large yet intricate black paper cut, made to fit the entire window of the gallery, suspended from the ceiling, and ultimately turning the whole gallery space into a stained glass window.
The design features elements of the medieval window at the Tower of London where former Kings had a private prayer space within their living quarters. Through the final design and title of the show, I played with idea that these windows were privy to royal confessions and prayers, becoming the intimate confidants of past Kings.
Internal Reflections, Paper cut installation, Northern Centre for Contemporary Art, Darwin: Sept 13 - Oct 12 2013
Artist Statement
Windows separate the outside from the inside. They provide an inside peek into an enclosed space, but also let light into darkness. The concept of blurring contexts is something that my work has always explored. Whether it's between cross-cultural compositions, or the use of old and new materials and techniques. For this installation I wanted to play with the concept of 'inside' and 'outside', creating a world inside the window that reflects the outside environment. Water, plants and animals will play a role in imagery, cut out of paper and used to create a world of its own.
Windows separate the outside from the inside. They provide an inside peek into an enclosed space, but also let light into darkness. The concept of blurring contexts is something that my work has always explored. Whether it's between cross-cultural compositions, or the use of old and new materials and techniques. For this installation I wanted to play with the concept of 'inside' and 'outside', creating a world inside the window that reflects the outside environment. Water, plants and animals will play a role in imagery, cut out of paper and used to create a world of its own.
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Construction of Life: a marriage between land and water, 2012
Hand cut paper, Branch3D Sydney, March 2012
Artist Statement
Almost camouflaged, the white on white of this installation suggests a visual quietness, the paper curtain revealing a peaceful, tranquil environment. Referencing the imagery of her Japanese heritage, Elysha's illustrations are reminiscent of Japanese iconography and the connotations that these provide. Hand cut using a scalpel blade, these negative spaces allow the light through and the shadows to create another layer, depth and movement to the space.
Almost camouflaged, the white on white of this installation suggests a visual quietness, the paper curtain revealing a peaceful, tranquil environment. Referencing the imagery of her Japanese heritage, Elysha's illustrations are reminiscent of Japanese iconography and the connotations that these provide. Hand cut using a scalpel blade, these negative spaces allow the light through and the shadows to create another layer, depth and movement to the space.
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'Destruction, Creation' wall painting and paper cut show - made. Creative Space October 2011:
Artist Statement
January 10, 2011 mass flooding affected Toowoomba and South East Queensland, where I was living. A month later the Tohoku Tsunami hit Japan devastating the area with flooding and damaging a nuclear reactor in Fukushima. This work ponders the future of our world with such disasters, referencing my Japanese grandmother's historical experience living near Hiroshima at the time of the atomic bomb dropping in 1945, and the current threat of nuclear meltdown in Fukushima. Hand cut paper pairs with hand painted wall murals to create a work that connects my family's past with today's future.
January 10, 2011 mass flooding affected Toowoomba and South East Queensland, where I was living. A month later the Tohoku Tsunami hit Japan devastating the area with flooding and damaging a nuclear reactor in Fukushima. This work ponders the future of our world with such disasters, referencing my Japanese grandmother's historical experience living near Hiroshima at the time of the atomic bomb dropping in 1945, and the current threat of nuclear meltdown in Fukushima. Hand cut paper pairs with hand painted wall murals to create a work that connects my family's past with today's future.
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Folding Freedom, 2011, Origami installation, Attic Art Space Toowoomba March 2011:
Artist Statement
This was my first solo exhibition as a practicing artist. I wanted to challenge myself with my paper craft by completing a large-scale origami installation of 100 cranes where each crane was all joined together in a single piece of paper, wing-tip tp wing-tip. I displayed this alongside a series of smaller washi paper works where the paper crane was still attached to the paper it came from. The challenge allowed me to venture out of my comfort zone technically and ignite the beginning of my solo exhibitions.
This was my first solo exhibition as a practicing artist. I wanted to challenge myself with my paper craft by completing a large-scale origami installation of 100 cranes where each crane was all joined together in a single piece of paper, wing-tip tp wing-tip. I displayed this alongside a series of smaller washi paper works where the paper crane was still attached to the paper it came from. The challenge allowed me to venture out of my comfort zone technically and ignite the beginning of my solo exhibitions.
