Beckoning attests to the power of memory and its catalytic relationship to place and identity. The series of paintings, drawings, and digitally based works represent the conceptual contexts and material approaches within which Melinda Giblett has developed her practice.
Interested in the way that we construct narratives about identity using a complex recollection of places people and memory, references are made to the omnipresent landscape of the Illawarra region south of Sydney, familiar domestic objects and settings of her childhood. Her observations reveal the role of the photographic image in the formation of recalled events and in the harnessing of memory around the profundity of joy, grief and loss. The technical processes of her work seek to investigate the spaces between representation and abstraction in response to the nebulous nature of memory.
Giblett’s work taps into the commonality of human experience allowing audiences to consider meanings of their own narratives about the past and present, asking what is ‘real’ and what is constructed and for which purpose. They permit a lightness of being amid the weight of one’s reality.
Interested in the way that we construct narratives about identity using a complex recollection of places people and memory, references are made to the omnipresent landscape of the Illawarra region south of Sydney, familiar domestic objects and settings of her childhood. Her observations reveal the role of the photographic image in the formation of recalled events and in the harnessing of memory around the profundity of joy, grief and loss. The technical processes of her work seek to investigate the spaces between representation and abstraction in response to the nebulous nature of memory.
Giblett’s work taps into the commonality of human experience allowing audiences to consider meanings of their own narratives about the past and present, asking what is ‘real’ and what is constructed and for which purpose. They permit a lightness of being amid the weight of one’s reality.
