Tell us about yourself.
I’m a third-year visual arts student at QUT. Alongside my art practice, I’d like to pursue a career in curation and writing about the visual arts. I love nature a lot!
Describe your practice.
The overarching theme of my practice is exploring the connectivity between human and nature, which I do using video, performance documentation, and photographic media. My works sometimes have undertones of environmental concerns, while at other times they’re more spiritual, like the works in Ether. Without even intending it, most of my works are meditative and contemplative.
What other artists and contexts inform your work?
Post-humanism and deep ecology are key contexts that encapsulate the ethos of my practice – essentially recognising nature as equally important
to the human. Great Goddess beliefs, Paganism and Wiccan philosophies also inform my works. Ana Mendieta, Jill Orr and Bill Viola are constant inspirations for my practice, but at the moment I’m also loving Charlie Hillhouse and Janet Laurence.
What inspires you?
Seeing other artists’ awesome and innovative ways of working is always encouraging, but I think getting out into nature is the most inspiring thing to me. All my works draw upon the nature in some way, so I’m always finding new ideas when I spend time in the natural world.
How has being in isolation impacted your artmaking?
Luckily, being stuck at home hasn’t meant I need to change my working process too much. I typically make all my work in and around the home, and I’m lucky enough to own most of the equipment I need. Having other good artist friends that are eager to help critique works through online messaging has been wonderful too, but it’s sad not being able to install and share works in person.
How did you translate your practice to the digital sphere?
Translating my practice into the digital sphere meant thinking about how I could take advantage of the website as a medium to really enhance the viewing experience and conceptual meaning of my works. I was able to set the tone for Esbat by asking audiences to engage in a little meditation before viewing the work, while in Luna I played around with slider tools to evoke the changing phases of the moon. Having a primarily digital practice to begin with was helpful, but it was a great learning experience to really lean into the online platform.
See more of Trinity's work on her website
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