This series explores relationships between the oceanic and the feminine, continuing to investigate cultural constructions of women in the ocean. The metaphor of the drowned woman in need of redemption is questioned by the presence of brave women, at home in the watery deep with sea creatures and storms.
Cultural constructions conflating the feminine and the ocean create narratives in which nature, and hence women, are domains over which power must be asserted. The motif of the drowned woman, particularly prevalent in the 19th century, asserts the redemptive powers of the ocean over "ruined" women, who regain their purity and attractiveness by throwing themselves into oceans or rivers.
Wearing dresses which help to submerge them, these images have become revitalised through the use of accessible underwater cameras. Fashion, social media and other platforms now foreground beautiful women against the sublime setting of the ocean.
This series of paintings investigated the traditional drowning narratives and sought to create images of women in the ocean, in a more ambiguous way. Based on my own experiences of ocean swimming, these women have no intention of sinking, and are, in fact, both at home and in collusion in the underwater world.
I like to further explore our relationship with watery bodies through the use of watercolour. Pigments suspended in water ebb and flow, and provide an apt vehicle with which to consider the ways in which water provides a material metaphor for ways in which we exist in the world.
Time in the centre is a sublime experience.
Ancient seas and oceans have left their imprint on rocks and cliffs. Water is present in its absence.
Always was and always will be Aboriginal land.