22/03/2024
I became intrigued by seemingly mundane decorative objects and minutia such as lace hankies and crocheted doilies. How these inanimate objects dictated certain behaviours. How these objects could evoke a rush of memories from early childhood. Sitting at my grandparents kitchen table on my family’s farm. A crochet doily placed under a procession of teapot, milk jug, sugar bowl and plate of biscuits. Nanna pours tea. I wait for biscuits to be offered. Thongs resting on big toes, trying not to swing my legs, remembering to sit up straight and speak only when spoken to. These small delicate objects - weaved with such care over extended amounts of time - so contrived in their simple, symmetrical patterning - yet dictating so much. - Mel Dare.
These artworks are part of a body of work which began in the Czech Republic while Mel Dare was revisiting her mother’s homeland. Immersed in such a long history full of beauty and dark passages she developed a further interest in the notion of self. How an individual is constructed, threaded together by divergent strands of culture as well as the moments of time and place in which we exist. The echo of events and memory that reverberate throughout our lifetimes. Gentle strands or crude stitches, the pattern of conditioning imposed by external and internal influences. By our simple yet almost all-consuming need to survive – biologically, socially and psychologically. As well as our equally strong desire for comfort.
‘Verisimilitude b’ was part of a body of work produced for the themed group exhibition “Florid“ in 2014. ‘Verisimilitude b’ was it's response.
‘Verisimilitude b’ is currently showing in “The Construction of Self” exhibition and ‘Verisimilitude a’ is available for viewing in the stockroom at Kamilė Gallery, The State Buildings, 1 Cathedral Ave, Perth CBD (cnr St Georges Tce & Barrack St). Curated by Vanessa Trento. Open Tues - Sat 11am - 5pm until 23rd March.
Artwork details: Verisimilitude a and Verisimilitude b, Mel Dare, acrylic paint and ink on wooden board, each 70 x 65 cm, 2014. Photograph by Robert Frith.