In Feels like home, artists Isabelle Boreham and Melanie Beresford give us an insight into what makes a place, a home through a series of original artist prints and Victorian terrace sculptures. The natural world with its vibrant native flora and birdlife meets the built environment to highlight the rich history that surrounds us in Australia. It is this nostalgic sense of place, that is multi-layered with memories of past lives that remains stitched in time.
ISABELLE BOREHAM ARTIST STATEMENT
Born in Paris, Isabelle Boreham spent time working in London and New York before moving to Australia. Now residing between Sydney and her NSW bush property, her appreciation of the Australian bush is clearly seen throughout her diverse practice. Before commencing each artwork, Boreham carefully observes the natural world around her and sketches the various plants and animals she comes into contact with. For the exhibition Feels like home, Boreham spent time visiting historic houses around NSW, discovering the stories of the families that once lived there. Certain elements of these homes have found their way into her artworks as a way of celebrating the rich history that surrounds us, that is founded upon a strong Aboriginal cultural landscape. In doing so, she bridges the divide between our past and present. Also included are works that pertain to her French heritage. Her unique birds are often seen cheekily chatting with one another in a bush of flowers, whilst others sit by themselves above iconic sites. Her love of bold colours and textures is evidenced, as she merges reality with her own musing. Peering through her own gardens, that could be likened to a marvelous jungle with frequent wildlife visitors, she draws much wonder and inspiration from the bountiful life that coexists with her.
MELANIE BERESFORD ARTIST STATEMENT
Growing up in an old Victorian terrace house in the Inner-West of Sydney with a family of artists, Melanie Beresford’s creativity was fostered from an early age. Art became her medium for making sense of the world she lives in and as a result, her work is often autobiographical. Her strong attachment to her childhood home, affectionally known as Chelsea, led her to create a series of artworks including ‘264 Enmore Rd’. Using dowel to create the structure and wire to form the details, she enveloped her house with an Yves Klein blue wool, the same colour her mum had once used to paint the home. Reminiscent of childhood wool craft, this wrapping became a metaphor for the wrapping of memories. After having completed her home, she recognized the common experience of memorialising place and sought to recreate a part of her childhood home street. While having a personal history with Chelsea, this was not the case with her neighours’ houses. Therefore she chose to only portray their façades which serve as metaphors for the homes, and wrapped them using their original colours. Side by side, the houses in 264 Enmore Rd float slightly squewed in mid air with a literal space behind each façade, metaphorical of the personal space that is often unknown behind closed doors. Casting shadows on the back wall that have a childlike quality about them, these frail skeletal structures serve as memories of the past.