Installation view, Verge Gallery, Darlington, New South Wales. Photo: Zan Wimberley
'BEVO' individual panels, January 2019- January 2020
'BEVO' Interpretative Panel
Artwork surface details
'BEVO' (details). Details showing the illusory surface of the panels, as the laser etching onto the mirrored surface created unexpected moire and opacity effects as layers of paint and grime were removed from the acrylic.
Grasshopper workflow
Found materials: Cahill Street, Beverly Hills, New South Wales
Location of found acrylic sheet used in artwork 'BEVO'. Acrylic sheet was found scattered around shed/rear of the property, prior to its demolition. The mirrored acrylic had been spray-painted, heavily scratched and broken into shards. The acrylic was alongside other discarded industrial materials, such as tiles and glass sheets, and it was unclear whether it was dumped or used by the previous occupants.
I was particularly attracted to this material as it recalled Robert Smithson's use of mirrors in early site-specific artworks. Unlike Smithson's work though, these mirrored sheets were acrylic rather than glass and were littered with traces of previous use. For me, this material also that reflected the transitional nature of Australian suburban experience; the cycles of dereliction, gentrification and urbanisation endemic within New South Wales.
I was particularly attracted to this material as it recalled Robert Smithson's use of mirrors in early site-specific artworks. Unlike Smithson's work though, these mirrored sheets were acrylic rather than glass and were littered with traces of previous use. For me, this material also that reflected the transitional nature of Australian suburban experience; the cycles of dereliction, gentrification and urbanisation endemic within New South Wales.