Forms on Edge : an installation of paintings at AirSpace Project, 2016

An idea that has sustained my visual explorations is the relationships body forms in the space it inhabits. 'Relationships' encapsulate the experiences of the body in a myriad of affects and effects, both tangible and intangible. The narrative framework is told through a female body of a perpetual migrant with a culture of birth that is predominantly patriarchal. During resettlement and adaptation, which brought changes to traditionally assigned roles. Negotiations for place and roles in the new community at large, and at a micro level within the family unit, were acutely felt. These experiences form the basis of the visual framework for the exhibition.

This body of work contemplates the interaction of forms within a given space, where forms are as much ‘made’ by negative space (white gallery walls), as through intersections of forms, both visible and invisible.

Painted surfaces define the edges of forms. They lend identity to the forms in space. Edges reveal the journey taken to arrive at this surface. They mark the site of encounters, the junctures of beginnings and ends. They document and express the nature of occurred changes, interactions, and interruptions that created these forms. These inform the emotive quality of the inter-relations of the shapes and the space they inhabit.

Earlier this year, a Tokyo residency has revivified feelings of being a foreigner in a predominantly monocultural and patriarchal society. The residency provided another nuance to the experience as an 'outsider'. With my physical attributes, there is a sense that I belong while walking and standing among locals, and yet a language barrier impeded cultural access, so I was automatically assigned as an outsider.

Forms on Edge aims to capture the social emotion space experienced through the part taking of the human 'tribe' where identity and assigned roles, real or perceived, play an integral part in the making of social fabric. In a time where living with changes and being amongst differences predominate the global social consciousness, it is an age-old narrative that remains prevalent to this day. This exhibition hopes to contribute this continual dialogue. Using the minimalist field painting as a form of expression to visualise emotions in enclosed spaces, it also aims to engage the viewers at large to form their own narratives.

© 2016 Anie Nheu. Images by Lyrebird Photography