Have you worked in fabric a lot? Is that part of your practice? SL The disarming aspect is powerful, it invites you in. With this work we had a lot of time, and it sits within ideas of play and protest, which is obviously more political.ĬC That’s why we’re using the flower power imagery, the unicorn and ‘no work’ slogans – because they have a playful element to them but still mean something in regards to pushing against boundaries or representing yourself in the system. SL The work is quite political but it’s disarming in how it’s so playful too. ![]() If you can’t be bothered flicking through the thing, you don’t get it. ĬC I don’t care though, because we are always on about labour and the divested viewer and I really like the idea that it’s not easy. JW That sounds like terrible user interface. I feel like whatever the website is, it should be exactly like that – you go to it and there is an image of the object that you can pull out and open on the screen. A place for someone, not just an object that is sterile. JW Part of our professional development proposal for the fellowship is to start figuring out how to make a website.ĬC Making the object will be situational, with a place for a person to pull the thing out, look at it and play it. At the moment, it’s just on the hard drive and backed up on the Cloud. If we get a big grant in the future … we like the idea that the whole archive could become an object on vinyl.ĬC But also, that it is freely available digitally. It was so joyful! How do you archive your work with recordings?Ĭhanelle Collier There is no actual archive yet – that’s a future thing. I wanted to start with your piece at the NSW Emerging Artists Fellowship exhibition at the National Art School in September 2022, with the large kite and recording set up. Thanks for taking some time to speak with Union about your practice. Everything is so considered and precise while still being warm and familiar. Sophie Lanigan What a beautiful home – it’s almost like an extension of your work. Union visits their shared home for a free-ranging conversation, discussing making art from found objects, embedding histories materially, the intersection of politics and play, and intimacy outside of the institution. Chanelle Collier and Joe Wilson are known for a critical multi-disciplinary practice spanning print, painting, installation and sound – and often leaving the confines of the gallery all together.
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