Georgia de Koning, Banana bread, 2020, video with sound, 4:14 minutes

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Banana bread is part of the recipe series that explores themes of memories, the domestic space and familial interactions. The Banana bread recipe was a recreation of a family recipe, changing it slightly to suit my tastes at the time. The recipes in the series are often made in an exact recreation of the original recipe to symbolise the recreation of the memories associated with the food. This recipe was made with the creation of new memories in mind as it was made independent of my mothers presence, like some of the video works. The absence of the mother daughter interaction is noticeable as it is a solo recreation of the food and memory, as such this puts me in the role of my mother from my memories making the food.

Georgia de Koning, Gnocchi, 2020, video with sound, 4:02 minutes

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Gnocchi is part of the recipe series that explores themes of memories, the domestic space and familial interactions. Gnocchi is a recipe that my mother and I made when I was younger and is an important memory to me as this was the first time we made pasta together. This video work is different in its use of audio as it explores sounds of the home outside of the kitchen. These sounds are less ones associated with cooking together, and more the sounds from other family members as they go about their night. These sounds create a different experience of the work that brings my family outside the video frame into consideration in the domestic space.

Georgia de Koning, Hot cross buns, 2020, video with sound, 13:32 minutes

 

Hot cross buns is part of the recipe series that explores themes of memories, the domestic space and familial interactions. This recipe is one we as a family make at Easter and is a special recipe to me as it's one made every Easter for breakfast. Making them this year I realised how my works resonate within the domestic space and for the service of others. It created a consideration of how food and making foods is one of the ways my family expresses love. This creates a subtext within the artwork that the food making process is valuable because of the time and effort put into the food. The making of this food is like a service or act of love within my family and these recipes have been a great way to display this to an audience.

Georgia de Koning, Mini quiches, 2020, video with sound, 17:31 minutes

 

Mini Quiches is part of the recipe series that explores themes of memories, the domestic space and familial interactions. This food is one that is reminiscent of summer weekends by the pool, the memories surrounding the work being fond and many. I decided to make this recipe part of the series as it one of the first foods that I was able to make independently when I was younger for my enjoyment or for my families. As such the editing of the video was meant to highlight my ease surrounding the making of this food.

Georgia de Koning, Rice paper rolls, 2020, video with sound, 7:20 minutes

 

Rice paper rolls is part of the recipe series that explores themes of memories, the domestic space and familial interactions. This recipe is one that we would make often for lunches and is one that as a family would all stand around making. It is food that once prepped is easy to make individually. This video work incorporated close shots and tight angles on the hands, juxtaposed with wide angles of the food process. These angles highlight the movements of the hands when making the rolls and the process through the food that my mother and I take when preparing the food. This work focuses more on the hand off and interchangeable rolls in the cooking process between mother and daughter that are prominent in this recipe.

Georgia de Koning, Steak and peppercorn pie, 2020, video with sound, 7:52 minutes

 

Steak and peppercorn pies is part of the recipe series that explores themes of memories, the domestic space and familial interactions. This work was filmed to follow my mother and I as we went about preparing and cooking the food we would all later share for dinner with the rest of my family. This recipe is one that my family loves and so getting to participate in the recreation of this memory, as well the making of the new one by creating this work, was an experience that I will cherish. There is a capturing of intimate moments exchanged between my family as we discuss the process we are undertaking and the mundane aspects of our lives, all happening behind the camera. 

Jasmine Megson, Golden, 2020, oil on ceramic, 26 x 28cm (approx.)

 

Golden is made of five broken plate pieces that have been painted on using oil paint to imitate the pattern that once was. I act as a third-party in relation to the origin of the plate as I only came into possession of the plate once it was broken and discarded, but I was also an over-looker of the previous owners. By mimicking the original pattern, I am trying to replicate the sentimental attachment of the previous owners. The name Golden refers to Kintsugi, a Japanese method of fixing crockery with gold. By referring to this, I am saying that this work repairs the plate in order to give it new life. By creating movement in the pattern, the work explores memory and how it can change due to mental illness, distorting to something only vaguely reminiscent of the original. The work has been depicted in six different homey settings to pay homage to the previous and current owners of the plate.
 

Jasmine Megson, Recollection, 2020, oil on second-hand books, 19.5 x 22.5cm each

 

Recollection is a triptych of three paintings inside of second-hand Roald Dahl books. Each painting depicts a childhood memory of mine that I can only vaguely remember from stories and photographs, questioning the limitations of the mind and ideas surrounding false memory. As the paintings progress, the distortion of the memory becomes more prominent, ending with a Rorschach-style painting. In doing this, the artist is exploring how some memories can be more distinct than others. In the digital age where we take photos continuously, it allows us to capture the best parts of memories without capturing the negatives. By putting the triptych into a negative film strip, the artwork comes full circle: memories that come from photographs ending up as photographs. 

Lili Mikami, Two Bunkas, 2020, Broadcloth, DMC thread, thread, vintage Japanese silk, wooden dowel

,120 x 36cm

My work Two Bunkas created for the Lemonade Stand ARI Exhibition is a modern-day interpretation of a ‘Kakejiku’, a Japanese hanging scroll, investigating my cultural identity, memories and the domestic. The use of a scroll is influenced by my memories of my family home in Japan which commonly displayed hanging scrolls. They are a format in which art has been made simple to display and compact. 

 

The term ‘Bunka’ is the Japanese word for Culture, as I explore my two cultures. Splicing my Western name ‘Lili’ in half with my Japanese name ‘Misuzu’ placed in the middle, it is a visual representation of my mixed heritage; visualising the way cultures despite being put together like the embroidered text in different languages will not always mesh. 

 

The bold red background of broadcloth embroidered with the contrasting white thread references the Japanese flag. The back of the work is a panel of vintage Japanese silk with imagery of trees, as I wanted further to emphasise the contemporary and traditional in the work. Translating the traditional medium of a scroll to a contemporary context and mixing language is all to share the experience of having two cultures and the strong ways they can contrast.

Abby Rutter, Rummage, 2020, found object photogrammetry 

 

Rummage, exists in the form of digital renderings of physical objects. The objects depicted are ones that I have collected within the parameters of my own living space as well as items discovered during routined walks around my neighbourhood. By capturing the shades and colours of the object's surface and transforming them into collated pixels, I am capturing the shell of the physical object to be preserved in digital form for the foreseeable future as evidence of my daily environment, a memory box in which others can sift through.