The story that underpins this series sets out that the textile sculptures are dormant biomorphic beings. They become cyborg bodily additions, activated when they connect with their human counterpart. The textile biomorphic forms are self and kin; technological, botanical and material. They are materialisations of a disembodied self, an illustration of all the parts that exist within and without a neuroqueer flesh casing. Each form becomes dematerialised in the analogue and rematerialised in the digital; a virtual unfolding and refolding of self and kin.
Imagine that each little textile sculpture is something like a nano-tech poke ball! A sci-fi imagining for a botanical technological being that could become connected with the human body to hold and support it. Each creature, once connected with its human kin, would transform into a cyborg bodily modification like a face shield…
Created for the series Earthly Delights & The Spaces In-Between and Cyborg Selfies & Dystopic Playdates: Both bodies of work were created within Masters of Photography studio works at RMIT.
Audrey & Max were finalists in the Waterhouse Natural Science Art Prize, 2022.