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| My art practice revolves around the separation of experience from my own
body, where I am able to translate external monologues into materialised
spaces and works that allow me to understand them outside of my head.
This process is both cathartic and overwhelming for me as some of my
experiences have altered the way I perceive my body, respond to
situations, or relate to the things around me. One thing that helps with this
process is the material qualities of fabrics and different fibres, which have
found themselves useful in the translations of my works. The material
history of fabric itself is also relevant to my practice as I feel they can be
synonymous to my own history as a person, and therefore my works are
often expressed through fabric bodies which I treat in particular ways.
Because of this, I often utilise processes like felting, sewing, stitching and
dyeing alongside more traditional practices such as painting, writing or
moving image. @nathysfunk_ |
| the house that had always been green inside
Nath Gee, the house that had always been green inside, 2024, oil and gesso on cotton, calico, various linens, felted wool rovings and wool slubs, woven curtains, discarded and reused fabric scraps, various cottons and polyester blends, eco bundling on silk, various branches and leaves, sticks, macramé cord, sewing and embroidery thread, twine, nails, oral reading, 5:49 single channel video, various dimensions. My home had always remained consistent and secure throughout my early life and more recently it became a physical translation of companionship and connection. It was familiar and comfortable; it felt warm and smelt like home; and it always kept me safe and secure; it was my best friend. Since selling it in July, leaving it behind and moving to a different place I have felt lost and confused and alone and tired because I have been without my companion. This body of work is a homage to home, an expression of my love and provides autonomy for a house that sheltered my family for the past 4 generations. I also want to preface this body of work by making a distinction between ideas of home and place, inspired by writings from psychologist Hazel Easthope. This distinction points out that 'home' and 'place' are two sides of the same coin where I see them representing feeling and knowing respectively. In the past, I made a work where I was establishing connections with certain places through abstracted cyanotypes. This was done in an attempt to feel connected, rather than be connected to a place. I think at this point in my life I hadn't realised the connection I already had with my home. Unbeknownst to me I had started making a distinction where 'place' was something of regularity and mundane, and 'home' was something that I shared an innate and primal connection with. This distinction was something I wanted to explore further for this body of work. Furthermore, I want to reference artist Julia Gutman's importance of material history and meaning in her art-making and how I translated that ideology into my own work. My aim for this work was to create abstract representations of how my home looks and feelsexpressed through different fabrics and fibres. Gutman's work inspired this process through the importance and the history of the fabrics I was using, most of which were sourced from fabrics I had collected whilst living there and also store-bought fabrics that equated to how my home looked and felt. As a result, the fabric pieces are predominantly green. |