FIGURING / GROUNDING ARTISTS
I am interested in self-portraiture as a means of self-expression and the examination of the self through creative practice. Navigating between self-examination and narcissistic display, I aim to create a platform to explore the contemporary negotiation of evolving ideas of self-image and self-ideation. I see the self-portrait as inherently ambiguous with the potential to reevaluate identity.
My work is continuously inspired and renewed by the contemporary selfie, the creation and distribution of the self image in digital culture, the notion of reclaiming the nude female body and the dynamic between art and popular imagery. Grounded in the physical body with elements of narrative and biography, my work foregrounds my concerns of identity and its embodiment.
Beneath The Tide is a work of personal emotion and inspiration. It occupies a liminal space in my practice. Both the figure and ground in these works are an exposure of my artistic processes, fused together in a new process of making.
My practice draws on a range of media in an attempt to create a dialogue of investigations into our human experience of 'Being' in the world. I Find an exploration of light, shadow, scale, colour and form throughout my process to be a way to refer to, and engage with, our sensual bodily experiences that form our perception of this existence.
I draw upon my environments, experiences and memories for inspiration. I embed them within an accessible form, structure, installation or projection. I find my process to be a way for me to actively and meditatively immerse myself in each moment.
I am continually pushing myself to develop and be dynamic in my approach to art making, both conceptually and with my skills and methodology.
My aim is to both immerse myself in the experience of my making process, along with an intention to re-create this multi-sensory experience to allow for the viewer to also engage in a real and immediate way.
I like the idea of disassembling my painting practice into both painterly and non- painterly materials and play with their transformation into work that refers to and converses with the tradition of painting. I do this through an ongoing dialogue in the fundamental aspects of painting, particularly colour, materiality and perception. A primary focus for me is searching for the zone of indeterminacy between painting and object. This oscillation between object and painting places my work in the field of ‘expanded painting’ allowing me a freedom to explore and question what painting is or isn’t, can or can’t be.
Making the engagement with the painting a physical event where the experience of looking calls upon the viewer to be aware of themselves and their perceptual processes as multi sensory is important for me. My intention is to create cognitive conflict in our understanding of what we see, so I use colour and surface as devices to enter an unconscious state to trigger memories of past places, times and events.
Overall, I investigate the boundaries of paint as a medium and colour as material to explore the ongoing significance of painting in relation to the rise of digital technologies. The question of painting’s specificity, which has been historically tied to the notion of the medium is now ready to be reimagined and redefined.
Terizis’ work retains an ongoing engagement with questions of materiality, form and the nature and processes of perception. Embedded in her process is the tension between inside and outside, objectivity and abstraction, between immediacy and process, reason and intuition. Recent work draws upon studies in quantum physics, anatomy of light rays and neuropsychology.
Her work originates from a desire to explore perceptual boundaries of space in relation to the confinements of consciousness. Photography serves as a medium through which spatial constellations are recorded and appropriated. Definitions of space are delineated in the broadest sense – physical space of the studio, space of the mind, space of materiality, between the eye and the brain and the body. Using varied definitions of space with its interrelations, inversions and analogies, Terizis probes our perceptive limits and pulls at the margins and structures of photography.
Leveraging photography as a sculptural and drawing material, recent work is focused on photographies potential at this material intersection. Interrogating approaches for these translational processes, Terizis expands her explorations to a wide range of forms and media including photography, drawing, collage and sculpture.
Meredith Birrell, curator
Meredith Birrell is a current PhD candidate at UNSW (Art and Design), where she is studying the intersections of the contemporary essay film with feminist new materialism and theories of authorship.
Previously, she completed a degree in Art History and Theory (University of Sydney) and an Honours degree in Painting (National Art School). Her honours project focussed on the difficult process of memory-work; in this case articulating the self via the family photograph. Using an archive of photographs of her maternal grandmother, Meredith translated these into life-size, black and white, oil and beeswax paintings that attempted to both reveal and veil the past, showing the struggle to articulate one’s relationship to memory and family history. Since completing her honours degree, Meredith has re-directed her energies towards art history and theory, a field in which she hopes to work as a researcher and teacher. There are plans for future art works that build on her painting practice but more fully embrace photography and film, and continue her interest the archive, memory and personal narrative.