Colorbond, plywood, dust.
Opening 09.01.19 6-8pm
Artist Talks 31.01.19 6-7pm
When I was a kid I used to sneak into my Dad’s shed. Using all the strength I had, I could wedge the corrugated roller door off the concrete to forge a gap just wide enough to slip underneath. I’d survey the collection of curious objects strewn across endless rows of dusty benches and shelves, wide-eyed at the prospect of the inventions soon to be unearthed. I’d stay in there for hours.
In Colorbond, plywood, dust. Megan Kennedy posits these visits to her Dad’s shed as formative experiences in the development of her own sculptural vocabulary. Presenting a selection of modified domestic and found materials, her installation endeavours to conduct a kind of sculptural re-examination of these backyard ventures. A slow drip from an overhead PVC pipe, a radio that endlessly scans across AM frequencies; through the act of ‘tinkering’, materials are reconfigured to animate the passing of time.
Beyond personal reflection, the exhibition seeks to delve into some of the more problematic aspects of an iconic Australian domestic structure. What could be read as a nostalgic glimpse at a middle-class white Australian upbringing, is muddied with the acknowledgment of the patriarchal and colonial lineage of the ‘Aussie shed’. A ‘man cave’, as it has been popularly referred to, represents a traditional space of male exclusivity. In Colorbond, plywood, dust. Megan uses the anecdote of this childhood experience as a means of subverting a typically masculine domain.
Megan Kennedy is visual artist currently residing and working in Melbourne. Seeking intersections between art and the everyday, Megan ‘tinkers’ with found and manufactured objects to create spatially considered installations. Often featuring kinetic or precariously arranged materials, these installations are subject to shift with the passing of time. In a more recent line of enquiry Megan has been examining how past experiences may contribute to an artist’s development of a sculptural language. Through the act of making, she has looked to trace the lineage of significant childhood events in to the current context of her own visual arts practice. Overall Megan’s practice is driven by a fascination with the physical exchanges that occur between things and a thirst for experimentation and play.
Megan graduated from the Victorian College of the Arts with a Bachelor of Fine Art (Honours) in 2017. She was the recipient of the Orloff Family Charitable Trust Scholarship award in 2017, and the Majilis Encouragement Award in 2016.