My work is attempting to challenge conventional ways of seeing and re-considers the dichotomy between nature and culture. The ideas underpinning my work grew out of a process of collecting images and concepts of predominantly Northern European Romantic Ideas - mingled with a desire to undermine and dissect those concepts. The use of technology in the work enables and destroys records of fiction and fact - in return science and technology become vehicles for the S ublime .
It is a contemporary perspective on Romanticism and the Sublime and the fiction within that. I have worked with images, retrieved and re-considered from our common cultural consciousness, and tried to make them physically as real as possible. It is a complex area where questions of authenticity and subjectivity have to constantly be addressed and re-defined.
The viewer is continuously forced to assert meanings, struggle with the self-conscious dilemma of being the flesh and blood stuck in the gallery space trapped in time, unable to change the past and predict the future, and the desiring, immortal spirit, free to roam. Opposites, the simultaneous and contradictions inform the work.
The work has taken shape in a variety of media; as time based sculptural installations (the 'tanks' pieces' i.e. I Don't Know How I Resisted The Urge To Run 1998, Think of One Thing 2002, Over and Over, Again and Again 2004 ), dual video installations such as Another Day (simultaneous record of the sun rising and setting in two opposite locations on the globe - South East Australia and West Azores , and objects found, made or manufactured, like Divorced, Beheaded, Died, Divorced, Beheaded, Survived . Epoxy resin modelled by stereo-lithographic process.
More recently there is another strand of work that has used music as a collaborative element. My experience of having worked with Handel's Alcina, Schubert's Winterreise and Mahler's Kindertotenlieder, makes me want to expand my capacities and horizons into further directions of understanding and making work with classical music.
The proposition that you can invent and combine findings, memories and experiences has always pulled my attention and inspired my work. The cinematic experience significantly contributes to an engineered all around experience, the familiarity of this also derives from our front rooms re-enacting this 'cinematic' experience. The often subtle differences between the 1 st and '2 nd hand experience' is a subject that has always fascinated me. What happens when the emotive and the empirical 'coincide' within a piece of work? Within the context of northern European traditions - how do we re-define the Sublime ? How much is it possible to 'control' experience within any work?Mariele Neudecker