I am an interdisciplinary artist based in outer Western Sydney. My practice generally takes shape through applying painterly techniques unto unconventional or considerably "low art" materials and supports. My works tend to mitigate the stressed classical interpretations of painting, shifting the focus to concerns regarding the interrelations between materials and cosmetic processing. More specifically, I enjoy experimenting with resourceful dyeing techniques, combining that with the delicate and intimate practices of hand sewing. Reflecting the environments and unceded lands in which I create upon, is of utmost importance in my art making practice as it allows me to create a sort of conceptual landscape in which to situate my work. It is also worth noting my recent interest in transforming my works that take form of tapestries into wearable art pieces, injecting practical uses into the otherwise dormant, archival works.
explores the cosmetic alterations an environment transfers on recycled fabrics, dissecting the implications of consumerist residue in natural environments. It is a collective series of individual experiments, using separate environmental sites located across Darug land, collated into one expanded drawing assemblage.
The physicality of the work consists of found fabrics that have been treated through the ecological dyeing techniques of burial and puddle submergence, layered with the monoprinting techniques achieved by pressing found wastage, coated in synthetic paints and inks. The mark making impressions imitate the organic forms found in nature, contemplating the notion of capturing an environment without hoarding mementos, or as Miwon Kwon would put it in her late capitalist text 'One Place After Another: Site-specific art and locational identity', counters "the nostalgic desire for a retrieval of rooted, place-bound identities" by refraining from the indulgence of collecting nature's artefacts.
Brittany Bishop, 2021, Debris. Dirt, mud, acrylic paint, ink on recycled fabrics. 102 x 215 cm.