Natalie Quan Yau Tso
Fellowship finalists Maddison Gibbs, Morgan Hogg, Nadia Odlum, EJ Son, Natalie Quan Yau Tso and Min Wong will speak with curators, Alexie Glass-Kantor, Sarah Rose and Stephanie Berlangieri about their works for the 2023 NSW Visual Arts Fellowship (Emerging) exhibition.
Saturday 12 August, 11am–12pm (AEDT)
Maddison Gibbs is a proud Gunu Baakandji woman. Both artist and activist, Gibb's practice examines dual histories – focusing on stories of past and present, Aboriginal societies, and spirit. A multidisciplinary artist, Gibbs works across a wide spectrum of cultural praxis, utilising many methods and ideologies. Current thematics include intergenerational stories of contemporary Aboriginal affairs – with a focus on telling women’s narratives.
Morgan Hogg is a Cook Island-Australian emerging artist living and working on unceded Wangal and Gadigal lands. Through the perspective of her Kūki Airani heritage, Hogg utilises installation and performance as visual representations of her own exploration of cultural displacement and identity. Making space within her practice to rely on oral exchange between her mother and family, Hogg continues the story of her ancestry through maintaining traditional practices within her works. In engaging with performance and installation, she creates spaces of belonging within her institutionalised upbringing in Australia.
Nadia Odlum’s practice is driven by a fascination with urban environments. With characteristic playfulness and an abstract geometric language, they create immersive works that explore personal and collective experiences of urban life. Their works span painting, drawing, sculpture, artists’ books, performance collaborations, public artworks and pedagogical projects.
EJ Son is a South Korean-born artist based in Sydney. They graduated with a Bachelor of Visual Arts (Honours) from SCA in 2018 and have since been actively exhibiting in artist-run initiatives and institutions all over Australia, including Firstdraft, MAMA Albury, 4A Centre for Contemporary Asian Art, The Substation, The Lock Up, Verge Gallery, Pari, Tiles, Our Neon Foe and Bus Projects. Son was the winner of the Gosford Emerging Art Prize in 2021 and was commissioned by MAMA Albury to create Titty Tree (2021) in the same year. In 2022, they completed a residency with the Parramatta Artist Studios x Powerhouse, where they developed 댄싱머신: Dancing Machine (a.k.a Dancing Teddy), which was presented at their first solo show in Firstdraft. Son's work has been featured in publications such as Art Collector's Magazine, Art Guide Australia, Vault Magazine, Runway Journal, Memo Review, NAVA, and FBI Radio. In 2023, they presented a Giant Teddy (2023), commissioned by the Dark MOFO festival in Hobart.
Natalie Quan Yau Tso
Natalie Quan Yau Tso’s practice investigates bodily boundaries as metaphors for political boundaries through sculptures, installations and performances. She often performs acts driven by embodied knowledge including cleansing, eating and peeling that activate bodily dispersions. She then collects these bodily materials, including saliva, hair and skin to form sculptures. She is invested in transparent, almost invisible, materials as a mask that both protects and erases her. Her process is guided by the layers of the body as a meeting of timelines and histories, revealing slippages between the material and corporeal to expose boundaries between the personal and political.
Min Wong’s sculpture and installation practice examines metaphysical and cultural esoterica of 1970’s countercultures, ‘New Age’ spirituality, and recent renewed interest towards self-help and therapeutic culture. Through strategies of appropriation, corporate branding techniques and nomadic meanings, contingent and subject to the contemporary dilemma of spirituality, the work explores utopias and esoteric practices to reimagine a renewal of coexistence between nature, community, and spirituality. Wong’s installations investigate illusory hopes, desire, failure and seeks to remodel speculative worlds as possible futures within the contemporary dystopic.