ie.—nmp
ie.—for the people we will be

"…ie.—for the people we will be is a concatenation of gestures as much as it is a gesture in itself. This book is an entry point into understanding the psychology of artists in a world that has sped through fragmentation and wholly embraced its disintegration. What you are reading is and was conceived in a time when people began wondering what art can do beyond s(t)imulating itself. It contains artists, writers and thinkers who are both subjects of and contributors to evil, and in their work we might find moments that allow us to swim amidst the melancholy and ecstasy and rage and truncation and hope (false or real), all of which contour the parameters of this particularly untidy moment in history. I have found, in writing this text, that our days to activate change are numbered — which is not so much an indictment on mortality but on the realisation that we must spend our energy more wisely. This book is not about death but it is certainly framed by it, and the revolution which is to come is one where systemic upheaval is — as Audre Lorde once said in The Uses of Anger (1981) — driven by ‘anger, not moral authority. There is a difference.'

—Eugene Yiu Nam Cheung Tomorrow is a Dream I Never Had
available for purchase here

ie.—bs
if everything is porn then let your ears weep softly
Installation view, Connecting in the Grey Zone, BLINDSIDE Melbourne
Aluminium, glycerin
Dimensions variable

ie.—ms
PdM: Policy, Consumption & Reality (2019)
Presented as a part of Art Biesenthal 2019
Nylon mesh, timber
1550 x 1500 x 2000mm

ie.—ms
how to behead a tall poppy (2019)
Presented as a part of Art Biesenthal 2019
Cotton jacquard weave
2030 x 1520mm

fluid retention (2019)
Exhibited at c3 Artspace, Supported by City of Yarra
Aluminium, glass, salt
1200 x 600mm

v. their body swells and asks to be held
Exhibited at c3 Artspace, Supported by City of Yarra
Aqua ink on merino wool suiting
920 x 660mm

falling!falling!falling!
Exhibited at c3 Artspace, Supported by City of Yarra
Wool, wadding, laser engraved marble, steel hardware
1200 x 1100mm

iii. the garden (2019)
Exhibited at Pitch Music and Arts 2019
Plywood, structural pine, instant turf, nylon cord, ready-made garden ornament
Overall dimensions, 3600 x 1200 x 2400mm

and you said you had to claim yourself // your body and the hairs on it // they are yours (2019)
Exhibited at Firstdraft for “do you know this feeling?” curated by Sebastian Henry-Jones
Cashmere wool blend, mild steel, stainless steel cable, chrome powder coat, nickel coated fastenings
1500 x 2060mm

it feels good to be on top (2019)
Exhibited at Firstdraft for “do you know this feeling?” curated by Sebastian Henry-Jones
Laser etched cow leather, steel hardware
Dimensions variable

not to hide our stench (2018)
Exhibited as part of the Victorian College of the Arts Graduation Show
Performance: Daniel Ward & Kirby Casilli • Styled: Victoria Nguyen • Jewelery: Adah Kelleher–Roulston • Documentation and post production: Otto Ivor
Durational performance: 1hour 0minutes

i wonder, if i am the monster you birthed, or the one you made? (2018)
Mild steel, chrome powder coat
Dimensions variable

humira at room temperature (2018)
mild steel, chrome powder coat, 6mm safety glass, 40 mg pre-filled pen adalimumab.
700 x 500 x 100mm

Consent (2018)
Exhibited at SEVENTH Gallery, Melbourne
Cast fiberglass, automotive paint
Dimensions variable

ie.—kc
keystone: disappearance (2018)
Exhibited at SEVENTH Gallery, Melbourne
Concrete, body, timber, nylon cord • Durational performance: 3 hours
Dimensions variable

Selena (2017)
Commissioned by Brin and Selena
CNC routered hand honed basalt
Dimensions variable