Classroom Crush | Kirsten Bresciani
Printed Acrylic and Paper
30 (w) x 38 (h) cm
Each time I break a pencil lead, I am transported back to my grade five classroom and my starry eyes for Ben, the cute boy in my class with thick flopsy brown hair and hundreds of freckles. On his desk he kept a jar which he intended to fill by the end of the year with all the leads he’d broken. It was a rather large jar and before long, the whole class were helping him to achieve his goal by donating their own broken leads. My crush on Ben meant I was willing to go that little bit further and hence made the decision to sacrifice all my pencils, coloured and HB’s, for his cause. After developing a blister from the slow and lengthy process of sharpening and breaking my pencils, I decided to quicken the process by slicing open my pencils lengthways with a pair of open scissors. I was only about three pencils in when the scissors slipped, and I sliced deeply into my left ‘tall man’ finger. I have no idea what became of Ben, his family relocated to Sydney at the end of that year, but I still have the action of breaking a pencil and a scar to remind me of him and those fun primary school days.
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Memory and Materiality
Memory and Materiality is a visually diverse exhibition from artists Anita Kwong, Kirsten Bresciani and Sibone Heary. Each artist examines the way in which their own personal memories interact with the present. It is through the process of making that these memories materialise. Louise Bourgeois states that “the function of memory is not only to recall, reconstitute or reconcile the past but also to construct and represent the present” (Contemporary Art and Memory ‐ Joan Gibbons).
Kirsten Bresciani’s Memory Rooms are photo‐boxes of personal memory triggers. They explore involuntary sensory activation of past events – episodic memory.
Sibone Heary’s large scale paintings examine the human body’s capacity to store difficult or traumatic memory ‐ the body remembers. They look at the interconnection between mind and body, and the power of the subconscious.
Anita Kwong’s series of photographs, The day after lockdown 5.0, depicts a light, translucent form mid‐flight in the sky. The works arise from the freedom felt the day after that COVID lockdown 2021 ended in Melbourne, Victoria. Anita considers how the image may cue memory ‐ especially collective memories. The delicate fabric works introduce a tactile medium to the inquiry.