{"id":182564,"date":"2021-08-23T19:30:07","date_gmt":"2021-08-24T00:30:07","guid":{"rendered":"https:\/\/errr-magazine.com\/?p=182564"},"modified":"2025-08-15T10:56:14","modified_gmt":"2025-08-15T16:56:14","slug":"the-stabbing-house-self-portrait","status":"publish","type":"post","link":"https:\/\/errr-magazine.com\/english\/the-stabbing-house-self-portrait\/","title":{"rendered":"The Stabbing House (self-portrait)"},"content":{"rendered":"

Which tools did you use for the creation of this piece?<\/strong>
\nThis piece is a cyanotype on paper, cyanotype is a 170-year-old photochemical printing process that produces a distinct Prussian blue colour.<\/p>\n

What was the creative process behind it?<\/strong>
\nThis work is part of a larger anthology series that was created on residency at Megalo Print Studio, Canberra. Documenting personal landmarks around Sydney’s inner west and the suburbs where I grew up, I was drawn to the suburban landscape and the act of physically and repetitively documenting these streets through the analog photographic process. The image was taken on 35mm of a house at the end of my parents’ street where there was a domestic incident some years ago, knowing nothing else about the place it has been colloquially referred to as the ‘stabbing house’ by my family since.<\/p>\n

“I like the idea of simplifying the human form down to its fundamental shapes, being represented through our absence.”<\/p>\n

What feelings come to you when you look at it?<\/strong>
\nUtilising the dreamy quality of the traditional cyanotype process, the images are a nostalgic exploration of time and place as I look to return to a feeling of ‘home’ as we grow older and ‘home’ doesn’t feel so absolute anymore.<\/p>\n

What do you like most about this piece and why?<\/strong>
\nRecently I have begun exploring the history and significance of the ‘self-portrait’, and in this piece I have represented myself through the negative space in the centre of the image. I am keen to explore this concept more as I like the idea of simplifying the human form down to its fundamental shapes, being represented through our absence.<\/p>\n

What were your references, influences or inspirations during your creative process?<\/strong>
\nRecently I’ve been inspired by the ethereal installation practice of Do Ho Suh who creates ghostly life-sized replicas of every day buildings from sheer polyester material. His exploration of the mundane and the sense of nostalgia he induces in his work have been a big inspiration for me in this print series. In a similar vein, Heidi Butcher’s skin-like latex casts of derelict houses have been a big reference for me in creating these works. Equal parts creepy and beautiful, her work is delicate and monumental. Elise Rasmussen’s series “did you know blue had no name?”<\/em> was also a big visual inspiration for me with her mastery of the cyanotype process creating large fabric prints that evoke a true sense of the sublime, utilising the intense Prussian blue of the cyanotype process beautifully.<\/p>\n

“A part of the process was also letting go of the need for ‘perfection’ and embracing the individuality and hand-made quality of the printing process.”<\/p>\n

What did you enjoy the most about the process?<\/strong>
\nI find printmaking and more broadly analog-photochemical processes incredibly cathartic and meditative. There is an element of wonder every time you wash out a new cyanotype no matter how many times you do the process or how confident you are it will work. It’s a magical thing to watch.<\/p>\n

What was the hardest thing for you and how did you solve it?<\/strong>
\nI think consistency is the most difficult thing for me when producing multiples, and in creating a series I was looking for consistent results in a process that is often unpredictable. Having access to a proper studio set-up in Canberra definitely helped me to overcome this challenge as I was no longer relying on the UV exposure from the sun but instead had access to a UV exposure unit that creates consistent results. However, I think a part of the process was also letting go of the need for ‘perfection’ and embracing the individuality and hand-made quality of the printing process.<\/p>\n

Where would you like to see it exhibited?<\/strong>
\nI’m hoping to turn this series into an artist book that can be handled and explored by the audience. I think this tactile quality speaks to the anthological element of the work, so hopefully, it can be exhibited in a museum or gallery setting where this would be possible.<\/p>\n

This work was created on Ngunnawal land, I would like to pay my respect to their Elders past, present and emerging. Always was, always will be Aboriginal land.<\/p>\n

Special thanks to Megalo Print Studio, ACT.<\/p>","protected":false},"excerpt":{"rendered":"

I like the idea of simplifying the human form down to its fundamental shapes, being represented through our absence…<\/p>","protected":false},"author":7587,"featured_media":182565,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17849],"tags":[],"class_list":["post-182564","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"acf":[],"mb":[],"yoast_head":"\nThe Stabbing House (self-portrait) - ERRR MAGAZINE<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/errr-magazine.com\/english\/the-stabbing-house-self-portrait\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Stabbing House (self-portrait) - 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