THE ADELAIDE REVIEW NOVEMBER 2013 43
Photo: Corey Roberts.
‘memory work’. Her concern with memory is not with memory as retrieval but as an act of creation intimately linked to identity, knowledge and as a dynamic recuperation of time. For Kenyon, this creative memory work can be ‘an anchoring space’ in the relentless simultaneity of the informational age and the narratives created a means to explore new forms of knowledge and engagement with the world.
Frai Frai and Father, 2012, pinhole camera photograph
Photo: Steve Wilson
inside teacup, saucer, 16 x 16 x 8 cm.
apparent, a chair becomes a body. Through this unmaking and remaking her objects are vivified becoming ‘subjects not just materials’, and actors in these tableaux. The transformation of significant objects (a box carved by her great grand uncle, a tobacco tin) into pinhole cameras in Objectified (2012) produced images within domestic items making object and image inseparable, as if the object had spontaneously generated images from its own inhering memories. Recording technologies are deeply connected to Kenyon’s practice as a form of
These enigmatic narratives that her installations are engaged in are holey stories, mysterious to the core where each element, material and immaterial is necessary and held in poised relation to every other. The absences are invitations to entry and reverie as objects trigger memory and associations. They are in a way loose knit story machines inveigling viewers to engage with memory as act of dynamic becoming. Each body of work appears as an organic outgrowth of an evolving, deepening line of thought rather than an end point and shows an increasing refinement and sophistication. Her career to date evidences a self-propelling drive and determination with numerous solo shows locally and nationally and group shows in London and Colombia. Kenyon was awarded the Ruth Tuck scholarship (2010), the MF &MH Joyner Scholarship (2012) and the Qantas Foundation Encouragement of
Australian Contemporary Art Award (2012). Recent work has taken a liquid turn with Turn Back to the River (2013), a sitespecific project as part of the national One River art program. Railway carriages on the edge of Murray Bridge have become camera obscuras, transforming the town’s daily life into a mesmerising live film. A further carriage, too delicate to enter, is filled with postcards close-stacked like leaves recording residents’ riverine memories. Watery cast ice ‘phantom limbs’ will repair salvaged chairs for work in progress for a FELTspace group show in October this year and a residency in December will take her to Venice’s Scuola Grafica. With a sure eye and a storyteller’s art, Kenyon conjures these shapeshifting objects and live spaces where, like all good stories, the ending is never certain.
» All quotes from the artist in conversation with the writer or from the artist’s writing. Article courtesy of Guildhouse. heidikenyon.com guildhouse.org.au
Realms of WondeR Jain, Hindu and Islamic art of India
Now showing until 27 January 2014 immerse yourself in art inspired by the three great spiritual traditions of india. See more than 200 paintings, sculptures and decorative arts objects dating from the eighth century to the present day.
Free admission Tours daily, 11am and 2pm
Art GAllery of South AuStrAliA N o r t h t e r r A c e , A d e l A i d e artgallery.sa.gov.au PreSeNted By
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detail: The Festival of Cattle (Gopāshtamī), 20th century, Nathdwara, Rajasthan, India, opaque pigment and gold on cotton, 150 x 100 cm; Bequest of HugoVan Dam 2012