Know My Name

There's always a culture moment where we are almost compelled to deal with certain issues. And the work that I want to talk about was looking at the framing of basically white national identity through photography.

The method of working in this epoch, I was looking at colonial photography and making renditions of those photographs. So you are very conscious that you're looking at a photograph that someone has been looking at very closely and has been interpreting.

In terms of the framing of the discourse, the frame itself gives you a clue that there is an irony at work.

The frames that I collected at the time were in circulation at the same time the photographs were in circulation. Many of them were mirror frames, so I'm working between the discursive relationship between a reflective thought and the actual representation of the image that I was making.

The Fallen Monarch, know you have a tree felled. And it's almost like a wink to the republic. You know we were heading to 1988, the republican debate was desperately needed and we continue to desperately need that debate. The Fallen Monarch was my way of thinking OK, we've begun the conversation.