Small town boy is an ongoing body of work that responds to place and cultural history, and incorporates reflections on architecture and the body. These large-scale drawings, projections and interventions extrapolate details from the built environment, how it is used and traversed, and its cultural meaning for individuals and communities.
The imagery is shot through with popular and sub cultural meanings, reading social and architectural function and narrative against the grain.
Rather than an abstract interpretation of the urban landscape they take on the scale and details of a location to create new narratives, make visible secret histories and generate alternative meanings.They also weave a new space within the studio/gallery/site. In turn, they speak of the body in space through the physicality of their making, the scale of gesture, and the ‘handwriting’ of individual marks that reference both private and social histories, and fragments of text. These references include convict and queer histories that invert dominant ideas of ownership and culture. The work explores the ways these histories and urban praxes produce marginalisation, and resist, silence or accommodate the voices of others.
Liz Bradshaw is an artist and cultural researcher. Her work is about the historical and epistemological archives of industrialisation and modernity, and the ideas, processes and artefacts of these histories as they resurface in contemporary culture transformed by technology and globalisation.She has exhibited site-specific work, sculpture, installation, drawing and photography internationally; in galleries, libraries, archives and other historical sites, and published on art and design, and creative education. She has also developed collaborative projects in interactive technology, and taught art and design in Sydney and the UK.
I pay my respects to the Community, Culture and Country of the Gadigal People.
The imagery is shot through with popular and sub cultural meanings, reading social and architectural function and narrative against the grain.
Rather than an abstract interpretation of the urban landscape they take on the scale and details of a location to create new narratives, make visible secret histories and generate alternative meanings.They also weave a new space within the studio/gallery/site. In turn, they speak of the body in space through the physicality of their making, the scale of gesture, and the ‘handwriting’ of individual marks that reference both private and social histories, and fragments of text. These references include convict and queer histories that invert dominant ideas of ownership and culture. The work explores the ways these histories and urban praxes produce marginalisation, and resist, silence or accommodate the voices of others.
Liz Bradshaw is an artist and cultural researcher. Her work is about the historical and epistemological archives of industrialisation and modernity, and the ideas, processes and artefacts of these histories as they resurface in contemporary culture transformed by technology and globalisation.She has exhibited site-specific work, sculpture, installation, drawing and photography internationally; in galleries, libraries, archives and other historical sites, and published on art and design, and creative education. She has also developed collaborative projects in interactive technology, and taught art and design in Sydney and the UK.
I pay my respects to the Community, Culture and Country of the Gadigal People.
