Raxworthy, Julian R. (2008) Cate Consandine. Artichoke, 22, pp. 142-145.
The interpretation of evidence dominates contemporary television crime shows. Inanimate objects and disparate facts are made to speak; technology and expert opinion wring out their stories. In examining these dead pieces of evidence, the investigators search for patterns, discovering living perpetrators and fugitives. Psychology comes in where the evidence is interpreted; the investigators try to think through perpetrators' minds and presumably perverse rationales. Objects are examined. Banal things become precious, put into bags, marked, date- and time-stamped, and stepped around carefully. After a crime, the objects involved are different. After a crime show, our gaze is different; everything is potentially incriminating, perverse. Bags without people don't make sense. Under this gaze, objects acquire a psychology. When we look at a crime scene, the evidence violates us. The work of Melbourne artist Cate Consandine is about objects and how they occupy the space that they occupy. In her practice as a sculptor and throughout her studies at the Victorian College of the Arts, the Sydney College of the Arts, and now Monash, her work has cultivated violent ambiguity. Consandine's work extends across a range of different media, particularly vidoe, objects and spaces. Like a crime show, it activates a particular type of inquisition from the viewer.
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|Item Type:||Journal Article|
|Keywords:||landscape architecture, Cate Consandine|
|Subjects:||Australian and New Zealand Standard Research Classification > BUILT ENVIRONMENT AND DESIGN (120000) > ARCHITECTURE (120100) > Landscape Architecture (120107)|
|Divisions:||Past > QUT Faculties & Divisions > Faculty of Built Environment and Engineering
Past > Schools > School of Design
|Deposited On:||16 Oct 2009 02:54|
|Last Modified:||22 Jun 2011 13:35|
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