https://www.fionadavies.com.au/info daily 0.75 2026-02-18 https://images.squarespace-cdn.com/content/v1/5ce435d6bea1ed00016ba287/1558964652247-5MWXNMFZVOPGE4TY6U2Q/MHeiderich_ReflexionenZwei-05-copy.jpg Info https://www.fionadavies.com.au/home daily 1.0 2026-02-18 https://www.fionadavies.com.au/museums daily 0.75 2026-02-18 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/21fd1532-d982-4336-9977-b0b188b4c0c6/H.jpg Museums/Galleries (not) Surviving the Night II 2026 (detail) . table top sculpture, dioramas x 3, paper, transparency , found objects, gilding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/156ce170-de45-43c3-b87d-fae7884e7a02/Fiona+Davies+Lane+Cove+Exhibition-65.jpg Museums/Galleries - Solo Exhibition: The Night Passes, 2024, Installation, video, textile, gilding, paint and found objects, Gallery Lane Cove, Sydney Australia, photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/87856e86-d323-40bf-a1e8-92ddc4d52b2d/Fiona+Davies+-+Once..Pale+Horse+of+Death+Still+3+ed+.jpg Museums/Galleries - Solo Screening: Once Upon a Time, Long Ago and Far Away: The Pale Horse of Death, 2024, video, 20’ , at the The Golden Age Cinema, Sydney Australia on Sep 11 2024, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b1b527c1-49d7-4986-ae2e-e204a416a657/Fiona+Davies+Once+upon+a+time+long+ago+and+Far+Away++2022+as+installed+%27Tracing+the+Rupture%27+2023.JPG Museums/Galleries - Group Exhibition: Once Upon a Time, Long Ago and Far away: Wearing the Uniform of the Patient , 2023, installation, video, textiles and found objects in Tracing the Rupture at the Blue Mountains Cultural Centre, Australia, photo credit Silversalt https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5bb426ad-045d-4df5-8b06-002d7092c949/IMG_5820.jpg Museums/Galleries - Group Screening: Mosaic and MashUp I and II, 2023, video plus D. J’d sound, at The Golden Age Cinema Sydney Australia and Shades Bar/Nightclub Central Station Sydney Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/e49119e4-c097-4fdb-8b02-970a1f9c0d06/DSC_5743.JPG Museums/Galleries - Festival, Group Exhibition, Curation, Performance: Is that Cocteau’s Horse? 2022 , textile, metal and found objects, size variable, in Carnivale Catastrophe, at Cementa22, Kandos, NSW, 2022. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/ceff1e82-fa8f-4314-9bab-20deda8e8b5d/IMG_5976+%284%29.jpg Museums/Galleries - Solo Performance at a Festival: Once Upon a Time, Long Ago and Far away: A Short History of Removal. 2022, Spoken word, installation, video, 60 ‘, at Lumière Festival of the Moving Image Mount Victoria Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/db7f5e62-79e7-4249-a1e2-96bf00eb07a0/Fiona+%283%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: The Uniform of the Patient: Hanging up Neatly, 2021, textiles and found objects, at Cessnock Contemporary, Cessnock Tennis Club, NSW Australia, photo credit Penny Dunstan https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632634551992-AR3AFX46YM38QREVURYA/2021_ADAF_LAURELS_W+%28002%29.jpg Museums/Galleries - Ggroup Screening/Festival: Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’14” at 17th Athens Digital Arts Festival, 2021, Greece. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/8165966c-efde-43c1-9de4-64d374289105/IMG_5540+%282%29.jpg Museums/Galleries - Group Exhibition: ‘My Grandad always said, It’s easier to clean up after a fire than a flood’ and ‘School Fire’ x 2, Photo, found objects and glass, size variable at Space YZ , Campbelltown Arts Centre, Sydney, Australia, 2021. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630323011793-R2C0QZERE912ZW649PQQ/cropped+photo++%282%29.jpg Museums/Galleries - Group Screening in a Festival: Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’14” in the International Limestone Coast Video Art Festival at the Riddoch Arts Centre, Mount Gambier, South Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/cf80925c-c3f7-43da-ad50-7eef77e2de0d/Davies_Fiona_+Being+the+overconfident+Supervisir+%283%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Try to hide/try to stand out, No’s 1 to 10, 2020, balsa wood, paint, found objects. variable size each approximately 12 x 10 x 10(h)cm, in Unus Multorum, (One of Many)at Plas Bodfa, Wales, UK, . https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632638935415-EAQ7SVS7TGG4RRXBBWTC/Fiona+_Davies_Once+upon+a+time+long+ago+and+far+away+Shutting+down+in+isolation_4%2718_2019++%283%29.JPG Museums/Galleries - Group Exhibition: Shift + Control + Exit , 2020 video, 4’15” in Shift + Control + Exit at the Blue Mountains Cultural Centre, Katoomba, Australia, 2020. Website https://www.shiftcontrolexit.com/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/70e05bc2-e5a5-4827-b47e-d9c41f07e7de/tbilisi+escaltor+lights+.jpg Museums/Galleries - Solo Screening: Once upon a time long ago, and far away x 3 , 2019, 15’, at the Golden Age Cinema, Surry Hills Sydney Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7fd80788-1b00-4357-bac8-70e8f33bad70/Last+seen+plus+medical+monitor+.jpg Museums/Galleries - Solo Exhibition and Performance: Cast a cold eye on life, on death: The Remake: Medicalised Death in ICU, 2019, silk, zinc, paint, fabric, found objects and ribbon, size variable, in the PhD exhibition at the Sydney College of the Arts Gallery, University of Sydney, Australia, Photo Credits Alex Gooding and Alex Wisser The thesis accompanying this exhibition can be viewed/downloaded https://ses.library.usyd.edu.au/handle/2123/21232 Cast a Cold Eye on Life, On Death is a quote from W.B.Yeats https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/32eea500-bd0e-4861-a6f5-3f16dfd681e7/site+1+detail+.jpg Museums/Galleries - Solo Exhibition: Woven Architecture sites 1 and 2 , 2019, ribbon, video, size site specific, at The State Silk Museum, Tbilisi, Georgia, Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614300522815-FZ2KYT2PUPFQYUE9DGJ5/Detail+2+credit+pPamela+Kleemann.jpg Museums/Galleries - Group Exhibition: Coughing up Blood, 2019, silk paper, metal, photograph, found objects,300cm x 300cm x 300(h)cm in Resilience in the times of adversity, Contemporary responses to WWII, at the Blue Mountains Cultural Centre, Katoomba, Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/0bdde1c2-1698-4395-8b68-0cba1fb1acd7/Medical+Monitor+Blanket+.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Where they were last seen, 2018, silk paper, textile, found objects and video in Being towards Death at the Sydney College of the Arts Gallery, University of Sydney, Australia, 2018. photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630322377834-VRHBV83WA0T5CB0BWQ23/Blood+alcohol+on-silk-bloodbags-004_edited-3+%282%29.jpg Museums/Galleries - Group Exhibition of Loaned Works: Memorial / Time of Death No. 3, 2008, print on paper, 90 x 110 (h) cm, Memorial/Time of Death, video, 3 minutes 30 seconds, 2008, and Blood on Silk: Blood Alcohol Content, 2014, print on paper 30 x 20(h) cm, in Hunter Red: Corpus at the Newcastle Art Gallery, Newcastle, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630832073073-E14PGIIJU5TID00GO0UY/DSC04614+%282%29.JPG Museums/Galleries - Group Exhibition, Performance: Racing Patience ICU, 2018, card game, instructions, fabric and found objects, size variable in Translation at the Verge Gallery, University of Sydney, Sydney, Australia, photo credit Alex Gooding. Curated by Faye Chen, Karen Cheng, Amber Fu, Rachael Helmore, Tian Kang, Yunyan Tang and Danyi Wang https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252362913-4WW4HLA4J892SB1F6WTN/untitled-114+ATodic+web.jpg Museums/Galleries - Solo Exhibition: Last Seen, 2017, silk paper, metal, video, 3.8 metres x 12.7 metres wide x 26.5 metres at the Casula Arts Centre, Casula, Sydney, Australia, Curated by Lizzy Marshall, Photo credit A. Todic https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b0f621d2-b0c1-4a0c-a984-cdb4720e4ac9/Blood%2BCatalogue%2BCover%2B.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Buy/Sell, 2017, metal, lights, found objects, paint ink, 150 x 70 x 90(h) cm in Blood at the Science Gallery, University of Melbourne, Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629882165962-P7V8GZ0AF2VSV43JNIIS/Blood+on+Silk+Buy+Sell++%2837%29.JPG Museums/Galleries - Group Exhibition: Blood on Silk: Commercial Quality No.’s 1, 2, 4, 8 and 10, 2017, photographic prints, 120 x 80(w)cm, in Rise of the Bio Society at the Riddoch Arts Centre, Mount Gambier, South Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630064375857-4ZA27R2ZISI9POSFE2YF/Blood+FOuntain+Cropped+detail+F+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Blood Fountain and Blood on Silk: Bleeding Out, 2017 metal, found objects, paint ,in Overlook at Stacks Projects, Potts Point, Sydney Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629881937783-R8C0TM4NFOF7M3Z6QQFS/DSC_1558.JPG Museums/Galleries - Group Exhibition: Blood on Silk: Buy/Sell, 2017, and Blood on Silk Import/Export. 2017, metal, sound, lights, found objects, paint and ink in Governance at Old Government House, Parramatta Sydney Australia. Curated by Lizzy Marshall https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f4505aa2-b2bd-4601-af7d-880ef18c5b6f/DSC_5294.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Last Seen at SCA, 2017, silk paper, size variable in ephemera at Sydney College of the Arts Gallery, University of Sydney, Australia. Photo credit Alex Wisser. Curated by Clara Cheong, Pamela Hale, Jeanie Ho, Sharon Hong, Elsa Kwok and Alana Leslie. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321784376-BNFAJZ7B4YMD4OEJH8WR/Bleeding+Out+Book+006+-+Copy+%282%29.JPG Museums/Galleries - Group Exhibition: Blood on Silk : Bleeding Out (Internally) The Book Parts A and B, edition no.1 of 5, 2017, silk, rice and other papers, ink and paint, size variable, in Prescriptions at the House of Knowledge, Canterbury, UK, Curated by Egidija Čiricaitė and Dr. Stella Bolaki https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632371759254-9GOQFXHT1ULRQT0QVUUF/peacock+gallery+.jpg Museums/Galleries - Group Exhibition of Loaned Work in 2016: Buttoned Up , 2008, 6 cm (d) x 3cm (h), found objects and wire,in Open Field at the Peacock Gallery and Auburn Arts Studio and Auburn Botanic Gardens, Sydney, Australia, 2016. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321353854-HQGVIXJ4SQ7NPY93R2F5/FDAVIES02+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk/Bleeding Out , 2016, 135 x 78 x 96(h)cm. metal, wood, found objects, paint, video in Her Moving Presence at Airspace, Marrickville, Australia; Photo credit Alex Wisser Curated by Yvette Hamilton and Danica Knezevic. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630398580992-ECDNGL6G8A3AY0OPGY26/BoS+Blood+Bags+Scans+_006+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Blood Alcohol Content, 2015, 30 x 20 (h) cm digital print in The piano has been drinking not me at Maitland Regional Art Gallery, Maitland Australia, 2015. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/2d8db5db-156d-4af3-a2a5-bcedf9c0952f/Blood+on+Silk+Magenta+ICU+Book+Images+024.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Magenta, 2015, 285 x 285 cm, ribbon, paint and canvas in Unfolded at West Gallery, Hazelbrook, Australia. Photo credit Alex Gooding Curated by Beata Geyer https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630400131614-B3Z2YV5ZDTEQB1UFFJPS/Blood+onSilk+As+per+Instructions+at+griffith+063.JPG Museums/Galleries - Group Exhibition: As per instructions 1, 2, 3 and 4, 2013-2014, painted canvas strips, nails, size variable, at The Whitebox, Griffith University Gallery, Gold Coast Campus, Queensland, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/bf1a87e1-ff7c-4b04-b826-2a7609c50253/Day-3-Tbilisi-D3200--%2816%29.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Tbilisi, 2014, silk paper, rice paper, paint ink and found printed matter, video,site-specific installation across three rooms, at The State Silk Museum, Tbilisi, Georgia. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/9ce4fe2c-c7c2-4bba-ab0f-253721aaa7cd/FionaDavies-049.jpg Museums/Galleries - Solo Survey Exhibition: Blood on Silk: Turn to/turn away, 2013, found objects and paint, size variable. Blood on Silk: As per Instructions 1,2 3 and 4, 2013-2014, canvas, paint and nails, size variable Blood on Silk: Site of Production, 2014, Video, 2.20’ Blood on Silk: Field of Flowers, 2013, canvas, paint, fabrics and found objects, each plinth 60 x 80 x70 cm(h) and painted wall section size variable and Blood on Silk: Campbelltown conflated with Blood on Silk: Trade 2011, 2012 and 2013, 2011-2014, silk paper and video, dimensions variable. in Blood on Silk: Campbelltown at the Campbelltown Arts Centre, Sydney, Australia. Curated by Michael Dagastino. Photo Credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/986ba532-05b8-4e5f-81ea-ecfac449524f/Scan350+%282%29.jpg Museums/Galleries - Group Exhibition and Solo Curation: The exhibition The Op Shop with Memorial/ Hanky 2004-2005, fabric and found objects, 600 x 600 x 300cm; Memorial/White Gloves 2013, fabric and found objects, 600 x 600 x 10cm; Fragment of Memorial/Double Pump Laplace I, 270 (w) x 150 (h) x 5cm Found objects, wire and cotton thread The Curation - The other artists curated into the exhibition were Nicole Barakat, Cath Bowen, Fiona Davies, Sarah Goffman, Fiona Hall, Donna Marcus, Kiri Morcombe, Luke Roberts, Surabhi Saraf, Louise Saxton, David Sequeira, Maeve Woods, The Modified Toy Orchestra, Toydeath, Raqs Media Collective and Lex Rogers in Op Shop at Maitland Regional Art Gallery, Maitland, Australia. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617779596736-TRLCE00N1P2M5F2AXOX3/blood+on+Silk+farnham+.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Farnham, 2013, silk paper, videe and found objects in an installation at the James Hockey Gallery, University of the Creative Arts, Farnham, U.K. Commissioned by Professor Lesley Millar https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629852907656-NVER6G3M2BSDBLUBGUP2/Fiona-Davies-for-Ian-Milliss.jpg Museums/Galleries - Group Exhibition: As per Instructions I. 2013, canvas, paint nails, in Notes on the Work at Artspace, Sydney, Australia. Photo Credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631095453295-RI5QFSFQDVCTJ4WL0NFZ/DSC00261.JPG Museums/Galleries - Group Exhibition: Collaboration starting with twenty-three units of blood, 2013, tablet, digital content, metal, silk, paper, ink and pen 32 x 31 cm (closed) in Bound and Unbound at Macquarie University Art Gallery, Sydney, Australia, 2013. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753357510-66N0B3L8VS5PB264KGSZ/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Museums/Galleries - Group Exhibition of Collection Works: Memorial/Time of Death, 2008,video, 3’ in Dark Edges of the Collection at Maitland Regional Art Gallery, Maitland, NSW, Australia, 2013. Curated by Cheryl Farell. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/3994bdc8-200a-404c-bc5e-f80b06b7b270/20120704-death_small14.jpg Museums/Galleries - Group Exhibition and Solo Curation: Death 3, 2012, silk paper 230 x 230 x 100 cm in I Don’t Think We’re In Kansas Anymore at Parramatta Artist Studios, Parramatta, Sydney Australia, 2012.Photo Credit Alex Wisser. The artists curated into this exhibition were Marian Abboud, Roohi S. Ahmed, David Capra, Fiona Davies, Spring Hulburt and Abdullah M. Syed. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/80fa3d5d-1ecd-4bcc-a521-2c5498b3be46/buttons+.jpg Museums/Galleries - Group Exhibition of Loaned Work: Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies, 2008, metal found objects in Bad Girls ( 20 witness 1000) at Canberra Contemporary Art Space, Canberra, Australia, 2011.Curated by Anni Doyle Wawrzynczak, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617783547379-RB5Z3S3LWEMSS6LGXJ8U/Blood+on+Silk+1+2012+No+2.jpg Museums/Galleries - Solo Exhibition: Blood on Silk 1 and 2 , silk paper, found objects and video, site variable, at the Culture at Work Accelerator Gallery, Pyrmont, Sydney Australia, 2011. Photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632627494502-R7X33MQ5L5GEHJ2GAHCF/davies_+fiona_B.jpg Museums/Galleries - Solo Exhibition: Memorial/ Time of Death No’s 1-5 , 2010, prints, 73 x 97(h) cm at the Garden Museum, 5 Lambeth Palace Road, London, U.K. 2010. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5cb46693-c23b-4df5-b559-7419034114eb/maitland_26.JPG Museums/Galleries - Solo Exhibition Commission: Intangible Collection 2009, rice paper, wood, video, sound, video, paint, ink, photographs, found objects historical items on loan, oral histories, 7.8 x 20 x 4 (h) metres at Maitland Regional Art Gallery, Maitland, Australia. Photo Credit Alex Wisser. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/58581082-514d-4e51-b290-96252f56d33d/fiona+art+-+Looking+at+Other+Stage+1+Death+Project+072.jpg Museums/Galleries - Group Exhibition and Solo Curation: Memorial/Time of Death, 2008 video 4"‘ in Death 1 at Parramatta Artist Studios, Parramatta, Sydney Australia, Photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/992fc408-75c6-40e0-8fdf-29b26b4f9816/Memorial+When+I+was+Younger+2+.jpg Museums/Galleries - Solo Exhibition Commission: Memorial/ When I was Younger, 2008, paintings, weaving, prints video at Blacktown Arts Centre, Sydney Australia, 2008. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688835900-MCSEMK5VOHCZ3DOR2Q4F/Memorial+Hanky+Instal+%2826%29.JPG Museums/Galleries - Solo Exhibition: Memorial/Hanky 2005, fabric and found objects, 6 x 6 x 2 metres at the Oceania Centre, University of the South Pacific, Suva, Fiji, 2005. Curated by Epeli Hau”ofa. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Museums/Galleries - Group Exhibition: Breaking Ice/ Revisioning Antarctica at the Adam Art Gallery/Te Pātaka Toi, University of Wellington, NZ, 2005. The curator Sophie Macintyre selected Davies’ work Ice/ Plain as a glass of water for the exhibition Breaking Ice/ Revisioning Antarctica. Sophie wrote in the exhibition catalogue that this exhibition explored the ways in which Antarctica has been perceived and imagined, historically and culturally. Featuring work by eight contemporary artists from New Zealand and Australia, Breaking Ice presented visual translations of experiences, perceptions and fantasies of Antarctica in distinctive and critical ways, playfully critiquing the processes of Antarctica’s visual representation and revealing the ways that it has been mythologised. This exhibition was toured in 2006 to the Invercargill Museum, Invercargill in the South island of New Zealand. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/69286b78-e150-4cbc-a516-af3345d19170/ICE_image_2.jpg Museums/Galleries - Group Exhibition: Ice/Plain as a Glass of Water , 2004, zinc found objects, 200 x 60 x 5 (d)cm in The Year in Art 2004 at the S.H. Ervin Gallery, Sydney, Australia, 2004. The Year in Art 2004 exhibition aimed to present the best works selected from exhibitions that had been held at Sydney commerial art galleries throughout the year of 2004. The three invited selectors, Laura Murray Cree, Nick VIckers and Jane Watters, viewed most of the exhibitions throughout the year and nominated fourty-eight works that they believed represented the scope of contemporary art practice. Davies’ work Ice/Plain as a Glass of Water was nominated by Nick Vickers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632375211293-PD38LU8HVPF576NAWK25/anita+cobby+and+beyond+exhibiton+handout+resized++.jpg Museums/Galleries - Group Exhibition Commission: Which One’s You? 2003, paper, ink, cloth wood and light. 4.5 x 3 x 2.5(h) metre in Anita and Beyond at the Penrith Regional Gallery: Home of the Lewers Bequest, Penrith Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634115992394-7JJ2B6XYS5KW3S1ZEJ1M/02+-+Safe+Return+Doubtful+-+Visitor+Lounge+detail+%282%29.jpg Museums/Galleries - Solo Exhibition: Safe Return Doubtful , 2003 zinc, ink photographs, sound, found objects, canvas,paint, museum furniture and objects from the museum collection, size variable, at the Canterbury Museum, Christchurch, NZ. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626758538215-168BFZ0Y39PR0702BCYW/Scan302.jpg Museums/Galleries - Solo Exhibition: One Only, 2002, photographs, prints, furniture, paintings at the Physics Room Christchurch, NZ, 2002. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632371847687-5A50AU7L968O4F0745H0/buttonedup+install.jpg Museums/Galleries - Solo Exhibition: Buttoned Up 1 to 30, House 1 and 2 and buttoned up wallpaper, 1998, in Buttoned Up at Gallery 19, Haymarket, Sydney Australia. Photo Credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632888812116-YKYF4R13ZBKAJGDLMFP0/Scan324.jpg Museums/Galleries - Group Exhibition: That’s such a pretty dress dear, version two, 1995, rope, found objects, fabric, and paint, dimensions variable in It’s Two to One at Penrith Regional Gallery, Home of the Lewer’s Bequest. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632285552906-0QWUFEX04EJRFL08V6DK/Scan270.jpg Museums/Galleries - Solo Exhibition: That’s such a pretty dress, dear , 1994 , found objects, ink, paint and rope at the Canberra Contemporary Art Space 3, Manuka, ACT, Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/21fd1532-d982-4336-9977-b0b188b4c0c6/H.jpg Museums/Galleries - Make it stand out (not) Surviving the Night II 2026 (detail) . Sculpture, table top, Dioramas x 3, paper, transparency , found objects https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/156ce170-de45-43c3-b87d-fae7884e7a02/Fiona+Davies+Lane+Cove+Exhibition-65.jpg Museums/Galleries - Solo Exhibition: The Night Passes, 2024, Installation, video, textile, gilding, paint and found objects, Gallery Lane Cove, Sydney Australia, photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/87856e86-d323-40bf-a1e8-92ddc4d52b2d/Fiona+Davies+-+Once..Pale+Horse+of+Death+Still+3+ed+.jpg Museums/Galleries - Solo Screening: Once Upon a Time, Long Ago and Far Away: The Pale Horse of Death, 2024, video, 20’ , at the The Golden Age Cinema, Sydney Australia on Sep 11 2024, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b1b527c1-49d7-4986-ae2e-e204a416a657/Fiona+Davies+Once+upon+a+time+long+ago+and+Far+Away++2022+as+installed+%27Tracing+the+Rupture%27+2023.JPG Museums/Galleries - Group Exhibition: Once Upon a Time, Long Ago and Far away: Wearing the Uniform of the Patient , 2023, installation, video, textiles and found objects in Tracing the Rupture at the Blue Mountains Cultural Centre, Australia, photo credit Silversalt https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5bb426ad-045d-4df5-8b06-002d7092c949/IMG_5820.jpg Museums/Galleries - Group Screening: Mosaic and MashUp I and II, 2023, video plus D. J’d sound, at The Golden Age Cinema Sydney Australia and Shades Bar/Nightclub Central Station Sydney Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/e49119e4-c097-4fdb-8b02-970a1f9c0d06/DSC_5743.JPG Museums/Galleries - Festival, Group Exhibition, Curation, Performance: Is that Cocteau’s Horse? 2022 , textile, metal and found objects, size variable, in Carnivale Catastrophe, at Cementa22, Kandos, NSW, 2022. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/ceff1e82-fa8f-4314-9bab-20deda8e8b5d/IMG_5976+%284%29.jpg Museums/Galleries - Solo Performance at a Festival: Once Upon a Time, Long Ago and Far away: A Short History of Removal. 2022, Spoken word, installation, video, 60 ‘, at Lumière Festival of the Moving Image Mount Victoria Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/db7f5e62-79e7-4249-a1e2-96bf00eb07a0/Fiona+%283%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: The Uniform of the Patient: Hanging up Neatly, 2021, textiles and found objects, at Cessnock Contemporary, Cessnock Tennis Club, NSW Australia, photo credit Penny Dunstan https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632634551992-AR3AFX46YM38QREVURYA/2021_ADAF_LAURELS_W+%28002%29.jpg Museums/Galleries - Ggroup Screening/Festival: Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’14” at 17th Athens Digital Arts Festival, 2021, Greece. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/8165966c-efde-43c1-9de4-64d374289105/IMG_5540+%282%29.jpg Museums/Galleries - Group Exhibition: ‘My Grandad always said, It’s easier to clean up after a fire than a flood’ and ‘School Fire’ x 2, Photo, found objects and glass, size variable at Space YZ , Campbelltown Arts Centre, Sydney, Australia, 2021. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630323011793-R2C0QZERE912ZW649PQQ/cropped+photo++%282%29.jpg Museums/Galleries - Group Screening in a Festival: Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’14” in the International Limestone Coast Video Art Festival at the Riddoch Arts Centre, Mount Gambier, South Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/cf80925c-c3f7-43da-ad50-7eef77e2de0d/Davies_Fiona_+Being+the+overconfident+Supervisir+%283%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Try to hide/try to stand out, No’s 1 to 10, 2020, balsa wood, paint, found objects. variable size each approximately 12 x 10 x 10(h)cm, in Unus Multorum, (One of Many)at Plas Bodfa, Wales, UK, . https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632638935415-EAQ7SVS7TGG4RRXBBWTC/Fiona+_Davies_Once+upon+a+time+long+ago+and+far+away+Shutting+down+in+isolation_4%2718_2019++%283%29.JPG Museums/Galleries - Group Exhibition: Shift + Control + Exit , 2020 video, 4’15” in Shift + Control + Exit at the Blue Mountains Cultural Centre, Katoomba, Australia, 2020. Website https://www.shiftcontrolexit.com/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/70e05bc2-e5a5-4827-b47e-d9c41f07e7de/tbilisi+escaltor+lights+.jpg Museums/Galleries - Solo Screening: Once upon a time long ago, and far away x 3 , 2019, 15’, at the Golden Age Cinema, Surry Hills Sydney Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7fd80788-1b00-4357-bac8-70e8f33bad70/Last+seen+plus+medical+monitor+.jpg Museums/Galleries - Solo Exhibition and Performance: Cast a cold eye on life, on death: The Remake: Medicalised Death in ICU, 2019, silk, zinc, paint, fabric, found objects and ribbon, size variable, in the PhD exhibition at the Sydney College of the Arts Gallery, University of Sydney, Australia, Photo Credits Alex Gooding and Alex Wisser The thesis accompanying this exhibition can be viewed/downloaded https://ses.library.usyd.edu.au/handle/2123/21232 Cast a Cold Eye on Life, On Death is a quote from W.B.Yeats https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/32eea500-bd0e-4861-a6f5-3f16dfd681e7/site+1+detail+.jpg Museums/Galleries - Solo Exhibition: Woven Architecture sites 1 and 2 , 2019, ribbon, video, size site specific, at The State Silk Museum, Tbilisi, Georgia, Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614300522815-FZ2KYT2PUPFQYUE9DGJ5/Detail+2+credit+pPamela+Kleemann.jpg Museums/Galleries - Group Exhibition: Coughing up Blood, 2019, silk paper, metal, photograph, found objects,300cm x 300cm x 300(h)cm in Resilience in the times of adversity, Contemporary responses to WWII, at the Blue Mountains Cultural Centre, Katoomba, Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/0bdde1c2-1698-4395-8b68-0cba1fb1acd7/Medical+Monitor+Blanket+.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Where they were last seen, 2018, silk paper, textile, found objects and video in Being towards Death at the Sydney College of the Arts Gallery, University of Sydney, Australia, 2018. photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630322377834-VRHBV83WA0T5CB0BWQ23/Blood+alcohol+on-silk-bloodbags-004_edited-3+%282%29.jpg Museums/Galleries - Group Exhibition of Loaned Works: Memorial / Time of Death No. 3, 2008, print on paper, 90 x 110 (h) cm, Memorial/Time of Death, video, 3 minutes 30 seconds, 2008, and Blood on Silk: Blood Alcohol Content, 2014, print on paper 30 x 20(h) cm, in Hunter Red: Corpus at the Newcastle Art Gallery, Newcastle, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630832073073-E14PGIIJU5TID00GO0UY/DSC04614+%282%29.JPG Museums/Galleries - Group Exhibition, Performance: Racing Patience ICU, 2018, card game, instructions, fabric and found objects, size variable in Translation at the Verge Gallery, University of Sydney, Sydney, Australia, photo credit Alex Gooding. Curated by Faye Chen, Karen Cheng, Amber Fu, Rachael Helmore, Tian Kang, Yunyan Tang and Danyi Wang https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252362913-4WW4HLA4J892SB1F6WTN/untitled-114+ATodic+web.jpg Museums/Galleries - Solo Exhibition: Last Seen, 2017, silk paper, metal, video, 3.8 metres x 12.7 metres wide x 26.5 metres at the Casula Arts Centre, Casula, Sydney, Australia, Curated by Lizzy Marshall, Photo credit A. Todic https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b0f621d2-b0c1-4a0c-a984-cdb4720e4ac9/Blood%2BCatalogue%2BCover%2B.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Buy/Sell, 2017, metal, lights, found objects, paint ink, 150 x 70 x 90(h) cm in Blood at the Science Gallery, University of Melbourne, Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629882165962-P7V8GZ0AF2VSV43JNIIS/Blood+on+Silk+Buy+Sell++%2837%29.JPG Museums/Galleries - Group Exhibition: Blood on Silk: Commercial Quality No.’s 1, 2, 4, 8 and 10, 2017, photographic prints, 120 x 80(w)cm, in Rise of the Bio Society at the Riddoch Arts Centre, Mount Gambier, South Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630064375857-4ZA27R2ZISI9POSFE2YF/Blood+FOuntain+Cropped+detail+F+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Blood Fountain and Blood on Silk: Bleeding Out, 2017 metal, found objects, paint ,in Overlook at Stacks Projects, Potts Point, Sydney Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629881937783-R8C0TM4NFOF7M3Z6QQFS/DSC_1558.JPG Museums/Galleries - Group Exhibition: Blood on Silk: Buy/Sell, 2017, and Blood on Silk Import/Export. 2017, metal, sound, lights, found objects, paint and ink in Governance at Old Government House, Parramatta Sydney Australia. Curated by Lizzy Marshall https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f4505aa2-b2bd-4601-af7d-880ef18c5b6f/DSC_5294.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Last Seen at SCA, 2017, silk paper, size variable in ephemera at Sydney College of the Arts Gallery, University of Sydney, Australia. Photo credit Alex Wisser. Curated by Clara Cheong, Pamela Hale, Jeanie Ho, Sharon Hong, Elsa Kwok and Alana Leslie. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321784376-BNFAJZ7B4YMD4OEJH8WR/Bleeding+Out+Book+006+-+Copy+%282%29.JPG Museums/Galleries - Group Exhibition: Blood on Silk : Bleeding Out (Internally) The Book Parts A and B, edition no.1 of 5, 2017, silk, rice and other papers, ink and paint, size variable, in Prescriptions at the House of Knowledge, Canterbury, UK, Curated by Egidija Čiricaitė and Dr. Stella Bolaki https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632371759254-9GOQFXHT1ULRQT0QVUUF/peacock+gallery+.jpg Museums/Galleries - Group Exhibition of Loaned Work in 2016: Buttoned Up , 2008, 6 cm (d) x 3cm (h), found objects and wire,in Open Field at the Peacock Gallery and Auburn Arts Studio and Auburn Botanic Gardens, Sydney, Australia, 2016. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321353854-HQGVIXJ4SQ7NPY93R2F5/FDAVIES02+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk/Bleeding Out , 2016, 135 x 78 x 96(h)cm. metal, wood, found objects, paint, video in Her Moving Presence at Airspace, Marrickville, Australia; Photo credit Alex Wisser Curated by Yvette Hamilton and Danica Knezevic. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630398580992-ECDNGL6G8A3AY0OPGY26/BoS+Blood+Bags+Scans+_006+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Blood Alcohol Content, 2015, 30 x 20 (h) cm digital print in The piano has been drinking not me at Maitland Regional Art Gallery, Maitland Australia, 2015. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/2d8db5db-156d-4af3-a2a5-bcedf9c0952f/Blood+on+Silk+Magenta+ICU+Book+Images+024.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Magenta, 2015, 285 x 285 cm, ribbon, paint and canvas in Unfolded at West Gallery, Hazelbrook, Australia. Photo credit Alex Gooding Curated by Beata Geyer https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630400131614-B3Z2YV5ZDTEQB1UFFJPS/Blood+onSilk+As+per+Instructions+at+griffith+063.JPG Museums/Galleries - Group Exhibition: As per instructions 1, 2, 3 and 4, 2013-2014, painted canvas strips, nails, size variable, at The Whitebox, Griffith University Gallery, Gold Coast Campus, Queensland, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/bf1a87e1-ff7c-4b04-b826-2a7609c50253/Day-3-Tbilisi-D3200--%2816%29.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Tbilisi, 2014, silk paper, rice paper, paint ink and found printed matter, video,site-specific installation across three rooms, at The State Silk Museum, Tbilisi, Georgia. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/9ce4fe2c-c7c2-4bba-ab0f-253721aaa7cd/FionaDavies-049.jpg Museums/Galleries - Solo Survey Exhibition: Blood on Silk: Turn to/turn away, 2013, found objects and paint, size variable. Blood on Silk: As per Instructions 1,2 3 and 4, 2013-2014, canvas, paint and nails, size variable Blood on Silk: Site of Production, 2014, Video, 2.20’ Blood on Silk: Field of Flowers, 2013, canvas, paint, fabrics and found objects, each plinth 60 x 80 x70 cm(h) and painted wall section size variable and Blood on Silk: Campbelltown conflated with Blood on Silk: Trade 2011, 2012 and 2013, 2011-2014, silk paper and video, dimensions variable. in Blood on Silk: Campbelltown at the Campbelltown Arts Centre, Sydney, Australia. Curated by Michael Dagastino. Photo Credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/986ba532-05b8-4e5f-81ea-ecfac449524f/Scan350+%282%29.jpg Museums/Galleries - Group Exhibition and Solo Curation: The exhibition The Op Shop with Memorial/ Hanky 2004-2005, fabric and found objects, 600 x 600 x 300cm; Memorial/White Gloves 2013, fabric and found objects, 600 x 600 x 10cm; Fragment of Memorial/Double Pump Laplace I, 270 (w) x 150 (h) x 5cm Found objects, wire and cotton thread The Curation - The other artists curated into the exhibition were Nicole Barakat, Cath Bowen, Fiona Davies, Sarah Goffman, Fiona Hall, Donna Marcus, Kiri Morcombe, Luke Roberts, Surabhi Saraf, Louise Saxton, David Sequeira, Maeve Woods, The Modified Toy Orchestra, Toydeath, Raqs Media Collective and Lex Rogers in Op Shop at Maitland Regional Art Gallery, Maitland, Australia. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617779596736-TRLCE00N1P2M5F2AXOX3/blood+on+Silk+farnham+.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Farnham, 2013, silk paper, videe and found objects in an installation at the James Hockey Gallery, University of the Creative Arts, Farnham, U.K. Commissioned by Professor Lesley Millar https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629852907656-NVER6G3M2BSDBLUBGUP2/Fiona-Davies-for-Ian-Milliss.jpg Museums/Galleries - Group Exhibition: As per Instructions I. 2013, canvas, paint nails, in Notes on the Work at Artspace, Sydney, Australia. Photo Credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631095453295-RI5QFSFQDVCTJ4WL0NFZ/DSC00261.JPG Museums/Galleries - Group Exhibition: Collaboration starting with twenty-three units of blood, 2013, tablet, digital content, metal, silk, paper, ink and pen 32 x 31 cm (closed) in Bound and Unbound at Macquarie University Art Gallery, Sydney, Australia, 2013. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753357510-66N0B3L8VS5PB264KGSZ/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Museums/Galleries - Group Exhibition of Collection Works: Memorial/Time of Death, 2008,video, 3’ in Dark Edges of the Collection at Maitland Regional Art Gallery, Maitland, NSW, Australia, 2013. Curated by Cheryl Farell. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/3994bdc8-200a-404c-bc5e-f80b06b7b270/20120704-death_small14.jpg Museums/Galleries - Group Exhibition and Solo Curation: Death 3, 2012, silk paper 230 x 230 x 100 cm in I Don’t Think We’re In Kansas Anymore at Parramatta Artist Studios, Parramatta, Sydney Australia, 2012.Photo Credit Alex Wisser. The artists curated into this exhibition were Marian Abboud, Roohi S. Ahmed, David Capra, Fiona Davies, Spring Hulburt and Abdullah M. Syed. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/80fa3d5d-1ecd-4bcc-a521-2c5498b3be46/buttons+.jpg Museums/Galleries - Group Exhibition of Loaned Work: Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies, 2008, metal found objects in Bad Girls ( 20 witness 1000) at Canberra Contemporary Art Space, Canberra, Australia, 2011.Curated by Anni Doyle Wawrzynczak, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617783547379-RB5Z3S3LWEMSS6LGXJ8U/Blood+on+Silk+1+2012+No+2.jpg Museums/Galleries - Solo Exhibition: Blood on Silk 1 and 2 , silk paper, found objects and video, site variable, at the Culture at Work Accelerator Gallery, Pyrmont, Sydney Australia, 2011. Photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632627494502-R7X33MQ5L5GEHJ2GAHCF/davies_+fiona_B.jpg Museums/Galleries - Solo Exhibition: Memorial/ Time of Death No’s 1-5 , 2010, prints, 73 x 97(h) cm at the Garden Museum, 5 Lambeth Palace Road, London, U.K. 2010. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5cb46693-c23b-4df5-b559-7419034114eb/maitland_26.JPG Museums/Galleries - Solo Exhibition Commission: Intangible Collection 2009, rice paper, wood, video, sound, video, paint, ink, photographs, found objects historical items on loan, oral histories, 7.8 x 20 x 4 (h) metres at Maitland Regional Art Gallery, Maitland, Australia. Photo Credit Alex Wisser. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/58581082-514d-4e51-b290-96252f56d33d/fiona+art+-+Looking+at+Other+Stage+1+Death+Project+072.jpg Museums/Galleries - Group Exhibition and Solo Curation: Memorial/Time of Death, 2008 video 4"‘ in Death 1 at Parramatta Artist Studios, Parramatta, Sydney Australia, Photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/992fc408-75c6-40e0-8fdf-29b26b4f9816/Memorial+When+I+was+Younger+2+.jpg Museums/Galleries - Solo Exhibition Commission: Memorial/ When I was Younger, 2008, paintings, weaving, prints video at Blacktown Arts Centre, Sydney Australia, 2008. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688835900-MCSEMK5VOHCZ3DOR2Q4F/Memorial+Hanky+Instal+%2826%29.JPG Museums/Galleries - Solo Exhibition: Memorial/Hanky 2005, fabric and found objects, 6 x 6 x 2 metres at the Oceania Centre, University of the South Pacific, Suva, Fiji, 2005. Curated by Epeli Hau”ofa. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Museums/Galleries - Group Exhibition: Breaking Ice/ Revisioning Antarctica at the Adam Art Gallery/Te Pātaka Toi, University of Wellington, NZ, 2005. The curator Sophie Macintyre selected Davies’ work Ice/ Plain as a glass of water for the exhibition Breaking Ice/ Revisioning Antarctica. Sophie wrote in the exhibition catalogue that this exhibition explored the ways in which Antarctica has been perceived and imagined, historically and culturally. Featuring work by eight contemporary artists from New Zealand and Australia, Breaking Ice presented visual translations of experiences, perceptions and fantasies of Antarctica in distinctive and critical ways, playfully critiquing the processes of Antarctica’s visual representation and revealing the ways that it has been mythologised. This exhibition was toured in 2006 to the Invercargill Museum, Invercargill in the South island of New Zealand. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/69286b78-e150-4cbc-a516-af3345d19170/ICE_image_2.jpg Museums/Galleries - Group Exhibition: Ice/Plain as a Glass of Water , 2004, zinc found objects, 200 x 60 x 5 (d)cm in The Year in Art 2004 at the S.H. Ervin Gallery, Sydney, Australia, 2004. The Year in Art 2004 exhibition aimed to present the best works selected from exhibitions that had been held at Sydney commerial art galleries throughout the year of 2004. The three invited selectors, Laura Murray Cree, Nick VIckers and Jane Watters, viewed most of the exhibitions throughout the year and nominated fourty-eight works that they believed represented the scope of contemporary art practice. Davies’ work Ice/Plain as a Glass of Water was nominated by Nick Vickers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632375211293-PD38LU8HVPF576NAWK25/anita+cobby+and+beyond+exhibiton+handout+resized++.jpg Museums/Galleries - Group Exhibition Commission: Which One’s You? 2003, paper, ink, cloth wood and light. 4.5 x 3 x 2.5(h) metre in Anita and Beyond at the Penrith Regional Gallery: Home of the Lewers Bequest, Penrith Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634115992394-7JJ2B6XYS5KW3S1ZEJ1M/02+-+Safe+Return+Doubtful+-+Visitor+Lounge+detail+%282%29.jpg Museums/Galleries - Solo Exhibition: Safe Return Doubtful , 2003 zinc, ink photographs, sound, found objects, canvas,paint, museum furniture and objects from the museum collection, size variable, at the Canterbury Museum, Christchurch, NZ. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626758538215-168BFZ0Y39PR0702BCYW/Scan302.jpg Museums/Galleries - Solo Exhibition: One Only, 2002, photographs, prints, furniture, paintings at the Physics Room Christchurch, NZ, 2002. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632371847687-5A50AU7L968O4F0745H0/buttonedup+install.jpg Museums/Galleries - Solo Exhibition: Buttoned Up 1 to 30, House 1 and 2 and buttoned up wallpaper, 1998, in Buttoned Up at Gallery 19, Haymarket, Sydney Australia. Photo Credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632888812116-YKYF4R13ZBKAJGDLMFP0/Scan324.jpg Museums/Galleries - Group Exhibition: That’s such a pretty dress dear, version two, 1995, rope, found objects, fabric, and paint, dimensions variable in It’s Two to One at Penrith Regional Gallery, Home of the Lewer’s Bequest. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632285552906-0QWUFEX04EJRFL08V6DK/Scan270.jpg Museums/Galleries - Solo Exhibition: That’s such a pretty dress, dear , 1994 , found objects, ink, paint and rope at the Canberra Contemporary Art Space 3, Manuka, ACT, Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/21fd1532-d982-4336-9977-b0b188b4c0c6/H.jpg Museums/Galleries - Make it stand out (not) Surviving the Night II 2026 (detail) . Sculpture, table top, Dioramas x 3, paper, transparency , found objects https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/156ce170-de45-43c3-b87d-fae7884e7a02/Fiona+Davies+Lane+Cove+Exhibition-65.jpg Museums/Galleries - Solo Exhibition: The Night Passes, 2024, Installation, video, textile, gilding, paint and found objects, Gallery Lane Cove, Sydney Australia, photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/87856e86-d323-40bf-a1e8-92ddc4d52b2d/Fiona+Davies+-+Once..Pale+Horse+of+Death+Still+3+ed+.jpg Museums/Galleries - Solo Screening: Once Upon a Time, Long Ago and Far Away: The Pale Horse of Death, 2024, video, 20’ , at the The Golden Age Cinema, Sydney Australia on Sep 11 2024, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b1b527c1-49d7-4986-ae2e-e204a416a657/Fiona+Davies+Once+upon+a+time+long+ago+and+Far+Away++2022+as+installed+%27Tracing+the+Rupture%27+2023.JPG Museums/Galleries - Group Exhibition: Once Upon a Time, Long Ago and Far away: Wearing the Uniform of the Patient , 2023, installation, video, textiles and found objects in Tracing the Rupture at the Blue Mountains Cultural Centre, Australia, photo credit Silversalt https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5bb426ad-045d-4df5-8b06-002d7092c949/IMG_5820.jpg Museums/Galleries - Group Screening: Mosaic and MashUp I and II, 2023, video plus D. J’d sound, at The Golden Age Cinema Sydney Australia and Shades Bar/Nightclub Central Station Sydney Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/e49119e4-c097-4fdb-8b02-970a1f9c0d06/DSC_5743.JPG Museums/Galleries - Festival, Group Exhibition, Curation, Performance: Is that Cocteau’s Horse? 2022 , textile, metal and found objects, size variable, in Carnivale Catastrophe, at Cementa22, Kandos, NSW, 2022. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/ceff1e82-fa8f-4314-9bab-20deda8e8b5d/IMG_5976+%284%29.jpg Museums/Galleries - Solo Performance at a Festival: Once Upon a Time, Long Ago and Far away: A Short History of Removal. 2022, Spoken word, installation, video, 60 ‘, at Lumière Festival of the Moving Image Mount Victoria Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/db7f5e62-79e7-4249-a1e2-96bf00eb07a0/Fiona+%283%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: The Uniform of the Patient: Hanging up Neatly, 2021, textiles and found objects, at Cessnock Contemporary, Cessnock Tennis Club, NSW Australia, photo credit Penny Dunstan https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632634551992-AR3AFX46YM38QREVURYA/2021_ADAF_LAURELS_W+%28002%29.jpg Museums/Galleries - Ggroup Screening/Festival: Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’14” at 17th Athens Digital Arts Festival, 2021, Greece. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/8165966c-efde-43c1-9de4-64d374289105/IMG_5540+%282%29.jpg Museums/Galleries - Group Exhibition: ‘My Grandad always said, It’s easier to clean up after a fire than a flood’ and ‘School Fire’ x 2, Photo, found objects and glass, size variable at Space YZ , Campbelltown Arts Centre, Sydney, Australia, 2021. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630323011793-R2C0QZERE912ZW649PQQ/cropped+photo++%282%29.jpg Museums/Galleries - Group Screening in a Festival: Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’14” in the International Limestone Coast Video Art Festival at the Riddoch Arts Centre, Mount Gambier, South Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/cf80925c-c3f7-43da-ad50-7eef77e2de0d/Davies_Fiona_+Being+the+overconfident+Supervisir+%283%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Try to hide/try to stand out, No’s 1 to 10, 2020, balsa wood, paint, found objects. variable size each approximately 12 x 10 x 10(h)cm, in Unus Multorum, (One of Many)at Plas Bodfa, Wales, UK, . https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632638935415-EAQ7SVS7TGG4RRXBBWTC/Fiona+_Davies_Once+upon+a+time+long+ago+and+far+away+Shutting+down+in+isolation_4%2718_2019++%283%29.JPG Museums/Galleries - Group Exhibition: Shift + Control + Exit , 2020 video, 4’15” in Shift + Control + Exit at the Blue Mountains Cultural Centre, Katoomba, Australia, 2020. Website https://www.shiftcontrolexit.com/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/70e05bc2-e5a5-4827-b47e-d9c41f07e7de/tbilisi+escaltor+lights+.jpg Museums/Galleries - Solo Screening: Once upon a time long ago, and far away x 3 , 2019, 15’, at the Golden Age Cinema, Surry Hills Sydney Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7fd80788-1b00-4357-bac8-70e8f33bad70/Last+seen+plus+medical+monitor+.jpg Museums/Galleries - Solo Exhibition and Performance: Cast a cold eye on life, on death: The Remake: Medicalised Death in ICU, 2019, silk, zinc, paint, fabric, found objects and ribbon, size variable, in the PhD exhibition at the Sydney College of the Arts Gallery, University of Sydney, Australia, Photo Credits Alex Gooding and Alex Wisser The thesis accompanying this exhibition can be viewed/downloaded https://ses.library.usyd.edu.au/handle/2123/21232 Cast a Cold Eye on Life, On Death is a quote from W.B.Yeats https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/32eea500-bd0e-4861-a6f5-3f16dfd681e7/site+1+detail+.jpg Museums/Galleries - Solo Exhibition: Woven Architecture sites 1 and 2 , 2019, ribbon, video, size site specific, at The State Silk Museum, Tbilisi, Georgia, Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614300522815-FZ2KYT2PUPFQYUE9DGJ5/Detail+2+credit+pPamela+Kleemann.jpg Museums/Galleries - Group Exhibition: Coughing up Blood, 2019, silk paper, metal, photograph, found objects,300cm x 300cm x 300(h)cm in Resilience in the times of adversity, Contemporary responses to WWII, at the Blue Mountains Cultural Centre, Katoomba, Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/0bdde1c2-1698-4395-8b68-0cba1fb1acd7/Medical+Monitor+Blanket+.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Where they were last seen, 2018, silk paper, textile, found objects and video in Being towards Death at the Sydney College of the Arts Gallery, University of Sydney, Australia, 2018. photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630322377834-VRHBV83WA0T5CB0BWQ23/Blood+alcohol+on-silk-bloodbags-004_edited-3+%282%29.jpg Museums/Galleries - Group Exhibition of Loaned Works: Memorial / Time of Death No. 3, 2008, print on paper, 90 x 110 (h) cm, Memorial/Time of Death, video, 3 minutes 30 seconds, 2008, and Blood on Silk: Blood Alcohol Content, 2014, print on paper 30 x 20(h) cm, in Hunter Red: Corpus at the Newcastle Art Gallery, Newcastle, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630832073073-E14PGIIJU5TID00GO0UY/DSC04614+%282%29.JPG Museums/Galleries - Group Exhibition, Performance: Racing Patience ICU, 2018, card game, instructions, fabric and found objects, size variable in Translation at the Verge Gallery, University of Sydney, Sydney, Australia, photo credit Alex Gooding. Curated by Faye Chen, Karen Cheng, Amber Fu, Rachael Helmore, Tian Kang, Yunyan Tang and Danyi Wang https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252362913-4WW4HLA4J892SB1F6WTN/untitled-114+ATodic+web.jpg Museums/Galleries - Solo Exhibition: Last Seen, 2017, silk paper, metal, video, 3.8 metres x 12.7 metres wide x 26.5 metres at the Casula Arts Centre, Casula, Sydney, Australia, Curated by Lizzy Marshall, Photo credit A. Todic https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b0f621d2-b0c1-4a0c-a984-cdb4720e4ac9/Blood%2BCatalogue%2BCover%2B.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Buy/Sell, 2017, metal, lights, found objects, paint ink, 150 x 70 x 90(h) cm in Blood at the Science Gallery, University of Melbourne, Australia, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629882165962-P7V8GZ0AF2VSV43JNIIS/Blood+on+Silk+Buy+Sell++%2837%29.JPG Museums/Galleries - Group Exhibition: Blood on Silk: Commercial Quality No.’s 1, 2, 4, 8 and 10, 2017, photographic prints, 120 x 80(w)cm, in Rise of the Bio Society at the Riddoch Arts Centre, Mount Gambier, South Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630064375857-4ZA27R2ZISI9POSFE2YF/Blood+FOuntain+Cropped+detail+F+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Blood Fountain and Blood on Silk: Bleeding Out, 2017 metal, found objects, paint ,in Overlook at Stacks Projects, Potts Point, Sydney Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629881937783-R8C0TM4NFOF7M3Z6QQFS/DSC_1558.JPG Museums/Galleries - Group Exhibition: Blood on Silk: Buy/Sell, 2017, and Blood on Silk Import/Export. 2017, metal, sound, lights, found objects, paint and ink in Governance at Old Government House, Parramatta Sydney Australia. Curated by Lizzy Marshall https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f4505aa2-b2bd-4601-af7d-880ef18c5b6f/DSC_5294.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Last Seen at SCA, 2017, silk paper, size variable in ephemera at Sydney College of the Arts Gallery, University of Sydney, Australia. Photo credit Alex Wisser. Curated by Clara Cheong, Pamela Hale, Jeanie Ho, Sharon Hong, Elsa Kwok and Alana Leslie. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321784376-BNFAJZ7B4YMD4OEJH8WR/Bleeding+Out+Book+006+-+Copy+%282%29.JPG Museums/Galleries - Group Exhibition: Blood on Silk : Bleeding Out (Internally) The Book Parts A and B, edition no.1 of 5, 2017, silk, rice and other papers, ink and paint, size variable, in Prescriptions at the House of Knowledge, Canterbury, UK, Curated by Egidija Čiricaitė and Dr. Stella Bolaki https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632371759254-9GOQFXHT1ULRQT0QVUUF/peacock+gallery+.jpg Museums/Galleries - Group Exhibition of Loaned Work in 2016: Buttoned Up , 2008, 6 cm (d) x 3cm (h), found objects and wire,in Open Field at the Peacock Gallery and Auburn Arts Studio and Auburn Botanic Gardens, Sydney, Australia, 2016. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321353854-HQGVIXJ4SQ7NPY93R2F5/FDAVIES02+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk/Bleeding Out , 2016, 135 x 78 x 96(h)cm. metal, wood, found objects, paint, video in Her Moving Presence at Airspace, Marrickville, Australia; Photo credit Alex Wisser Curated by Yvette Hamilton and Danica Knezevic. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630398580992-ECDNGL6G8A3AY0OPGY26/BoS+Blood+Bags+Scans+_006+%282%29.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Blood Alcohol Content, 2015, 30 x 20 (h) cm digital print in The piano has been drinking not me at Maitland Regional Art Gallery, Maitland Australia, 2015. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/2d8db5db-156d-4af3-a2a5-bcedf9c0952f/Blood+on+Silk+Magenta+ICU+Book+Images+024.jpg Museums/Galleries - Group Exhibition: Blood on Silk: Magenta, 2015, 285 x 285 cm, ribbon, paint and canvas in Unfolded at West Gallery, Hazelbrook, Australia. Photo credit Alex Gooding Curated by Beata Geyer https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630400131614-B3Z2YV5ZDTEQB1UFFJPS/Blood+onSilk+As+per+Instructions+at+griffith+063.JPG Museums/Galleries - Group Exhibition: As per instructions 1, 2, 3 and 4, 2013-2014, painted canvas strips, nails, size variable, at The Whitebox, Griffith University Gallery, Gold Coast Campus, Queensland, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/bf1a87e1-ff7c-4b04-b826-2a7609c50253/Day-3-Tbilisi-D3200--%2816%29.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Tbilisi, 2014, silk paper, rice paper, paint ink and found printed matter, video,site-specific installation across three rooms, at The State Silk Museum, Tbilisi, Georgia. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/9ce4fe2c-c7c2-4bba-ab0f-253721aaa7cd/FionaDavies-049.jpg Museums/Galleries - Solo Survey Exhibition: Blood on Silk: Turn to/turn away, 2013, found objects and paint, size variable. Blood on Silk: As per Instructions 1,2 3 and 4, 2013-2014, canvas, paint and nails, size variable Blood on Silk: Site of Production, 2014, Video, 2.20’ Blood on Silk: Field of Flowers, 2013, canvas, paint, fabrics and found objects, each plinth 60 x 80 x70 cm(h) and painted wall section size variable and Blood on Silk: Campbelltown conflated with Blood on Silk: Trade 2011, 2012 and 2013, 2011-2014, silk paper and video, dimensions variable. in Blood on Silk: Campbelltown at the Campbelltown Arts Centre, Sydney, Australia. Curated by Michael Dagastino. Photo Credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/986ba532-05b8-4e5f-81ea-ecfac449524f/Scan350+%282%29.jpg Museums/Galleries - Group Exhibition and Solo Curation: The exhibition The Op Shop with Memorial/ Hanky 2004-2005, fabric and found objects, 600 x 600 x 300cm; Memorial/White Gloves 2013, fabric and found objects, 600 x 600 x 10cm; Fragment of Memorial/Double Pump Laplace I, 270 (w) x 150 (h) x 5cm Found objects, wire and cotton thread The Curation - The other artists curated into the exhibition were Nicole Barakat, Cath Bowen, Fiona Davies, Sarah Goffman, Fiona Hall, Donna Marcus, Kiri Morcombe, Luke Roberts, Surabhi Saraf, Louise Saxton, David Sequeira, Maeve Woods, The Modified Toy Orchestra, Toydeath, Raqs Media Collective and Lex Rogers in Op Shop at Maitland Regional Art Gallery, Maitland, Australia. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617779596736-TRLCE00N1P2M5F2AXOX3/blood+on+Silk+farnham+.jpg Museums/Galleries - Solo Exhibition: Blood on Silk: Farnham, 2013, silk paper, videe and found objects in an installation at the James Hockey Gallery, University of the Creative Arts, Farnham, U.K. Commissioned by Professor Lesley Millar https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629852907656-NVER6G3M2BSDBLUBGUP2/Fiona-Davies-for-Ian-Milliss.jpg Museums/Galleries - Group Exhibition: As per Instructions I. 2013, canvas, paint nails, in Notes on the Work at Artspace, Sydney, Australia. Photo Credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631095453295-RI5QFSFQDVCTJ4WL0NFZ/DSC00261.JPG Museums/Galleries - Group Exhibition: Collaboration starting with twenty-three units of blood, 2013, tablet, digital content, metal, silk, paper, ink and pen 32 x 31 cm (closed) in Bound and Unbound at Macquarie University Art Gallery, Sydney, Australia, 2013. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753357510-66N0B3L8VS5PB264KGSZ/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Museums/Galleries - Group Exhibition of Collection Works: Memorial/Time of Death, 2008,video, 3’ in Dark Edges of the Collection at Maitland Regional Art Gallery, Maitland, NSW, Australia, 2013. Curated by Cheryl Farell. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/3994bdc8-200a-404c-bc5e-f80b06b7b270/20120704-death_small14.jpg Museums/Galleries - Group Exhibition and Solo Curation: Death 3, 2012, silk paper 230 x 230 x 100 cm in I Don’t Think We’re In Kansas Anymore at Parramatta Artist Studios, Parramatta, Sydney Australia, 2012.Photo Credit Alex Wisser. The artists curated into this exhibition were Marian Abboud, Roohi S. Ahmed, David Capra, Fiona Davies, Spring Hulburt and Abdullah M. Syed. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/80fa3d5d-1ecd-4bcc-a521-2c5498b3be46/buttons+.jpg Museums/Galleries - Group Exhibition of Loaned Work: Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies, 2008, metal found objects in Bad Girls ( 20 witness 1000) at Canberra Contemporary Art Space, Canberra, Australia, 2011.Curated by Anni Doyle Wawrzynczak, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617783547379-RB5Z3S3LWEMSS6LGXJ8U/Blood+on+Silk+1+2012+No+2.jpg Museums/Galleries - Solo Exhibition: Blood on Silk 1 and 2 , silk paper, found objects and video, site variable, at the Culture at Work Accelerator Gallery, Pyrmont, Sydney Australia, 2011. Photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632627494502-R7X33MQ5L5GEHJ2GAHCF/davies_+fiona_B.jpg Museums/Galleries - Solo Exhibition: Memorial/ Time of Death No’s 1-5 , 2010, prints, 73 x 97(h) cm at the Garden Museum, 5 Lambeth Palace Road, London, U.K. 2010. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5cb46693-c23b-4df5-b559-7419034114eb/maitland_26.JPG Museums/Galleries - Solo Exhibition Commission: Intangible Collection 2009, rice paper, wood, video, sound, video, paint, ink, photographs, found objects historical items on loan, oral histories, 7.8 x 20 x 4 (h) metres at Maitland Regional Art Gallery, Maitland, Australia. Photo Credit Alex Wisser. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/58581082-514d-4e51-b290-96252f56d33d/fiona+art+-+Looking+at+Other+Stage+1+Death+Project+072.jpg Museums/Galleries - Group Exhibition and Solo Curation: Memorial/Time of Death, 2008 video 4"‘ in Death 1 at Parramatta Artist Studios, Parramatta, Sydney Australia, Photo credit Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/992fc408-75c6-40e0-8fdf-29b26b4f9816/Memorial+When+I+was+Younger+2+.jpg Museums/Galleries - Solo Exhibition Commission: Memorial/ When I was Younger, 2008, paintings, weaving, prints video at Blacktown Arts Centre, Sydney Australia, 2008. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688835900-MCSEMK5VOHCZ3DOR2Q4F/Memorial+Hanky+Instal+%2826%29.JPG Museums/Galleries - Solo Exhibition: Memorial/Hanky 2005, fabric and found objects, 6 x 6 x 2 metres at the Oceania Centre, University of the South Pacific, Suva, Fiji, 2005. Curated by Epeli Hau”ofa. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Museums/Galleries - Group Exhibition: Breaking Ice/ Revisioning Antarctica at the Adam Art Gallery/Te Pātaka Toi, University of Wellington, NZ, 2005. The curator Sophie Macintyre selected Davies’ work Ice/ Plain as a glass of water for the exhibition Breaking Ice/ Revisioning Antarctica. Sophie wrote in the exhibition catalogue that this exhibition explored the ways in which Antarctica has been perceived and imagined, historically and culturally. Featuring work by eight contemporary artists from New Zealand and Australia, Breaking Ice presented visual translations of experiences, perceptions and fantasies of Antarctica in distinctive and critical ways, playfully critiquing the processes of Antarctica’s visual representation and revealing the ways that it has been mythologised. This exhibition was toured in 2006 to the Invercargill Museum, Invercargill in the South island of New Zealand. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/69286b78-e150-4cbc-a516-af3345d19170/ICE_image_2.jpg Museums/Galleries - Group Exhibition: Ice/Plain as a Glass of Water , 2004, zinc found objects, 200 x 60 x 5 (d)cm in The Year in Art 2004 at the S.H. Ervin Gallery, Sydney, Australia, 2004. The Year in Art 2004 exhibition aimed to present the best works selected from exhibitions that had been held at Sydney commerial art galleries throughout the year of 2004. The three invited selectors, Laura Murray Cree, Nick VIckers and Jane Watters, viewed most of the exhibitions throughout the year and nominated fourty-eight works that they believed represented the scope of contemporary art practice. Davies’ work Ice/Plain as a Glass of Water was nominated by Nick Vickers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632375211293-PD38LU8HVPF576NAWK25/anita+cobby+and+beyond+exhibiton+handout+resized++.jpg Museums/Galleries - Group Exhibition Commission: Which One’s You? 2003, paper, ink, cloth wood and light. 4.5 x 3 x 2.5(h) metre in Anita and Beyond at the Penrith Regional Gallery: Home of the Lewers Bequest, Penrith Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634115992394-7JJ2B6XYS5KW3S1ZEJ1M/02+-+Safe+Return+Doubtful+-+Visitor+Lounge+detail+%282%29.jpg Museums/Galleries - Solo Exhibition: Safe Return Doubtful , 2003 zinc, ink photographs, sound, found objects, canvas,paint, museum furniture and objects from the museum collection, size variable, at the Canterbury Museum, Christchurch, NZ. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626758538215-168BFZ0Y39PR0702BCYW/Scan302.jpg Museums/Galleries - Solo Exhibition: One Only, 2002, photographs, prints, furniture, paintings at the Physics Room Christchurch, NZ, 2002. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632371847687-5A50AU7L968O4F0745H0/buttonedup+install.jpg Museums/Galleries - Solo Exhibition: Buttoned Up 1 to 30, House 1 and 2 and buttoned up wallpaper, 1998, in Buttoned Up at Gallery 19, Haymarket, Sydney Australia. Photo Credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632888812116-YKYF4R13ZBKAJGDLMFP0/Scan324.jpg Museums/Galleries - Group Exhibition: That’s such a pretty dress dear, version two, 1995, rope, found objects, fabric, and paint, dimensions variable in It’s Two to One at Penrith Regional Gallery, Home of the Lewer’s Bequest. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632285552906-0QWUFEX04EJRFL08V6DK/Scan270.jpg Museums/Galleries - Solo Exhibition: That’s such a pretty dress, dear , 1994 , found objects, ink, paint and rope at the Canberra Contemporary Art Space 3, Manuka, ACT, Australia, https://www.fionadavies.com.au/site-specific daily 0.75 2025-06-04 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/9bac82d9-338d-4653-8f85-2edfeaedfb9d/IMG_6107.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/9a9e40e0-13ad-43fc-925f-16a7f0820fb5/still+cemetna+video+2+.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617192898219-Q9U5EECBM5RXVFF16K49/DSC_2148.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630238130650-0ULR8OGAHK9JD7KVC513/Painting+the+throat+8.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252362913-4WW4HLA4J892SB1F6WTN/untitled-114+ATodic+web.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252961694-R6ZTXX1V5IEFXA6DNKOY/B+on+S+Price+taker+at+SINV+2016++%282%29.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616486970628-SM5KH2M7IYCROZL1OCEP/Control+front+cover+.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614151400639-462X08EK670IUBYAAO5E/exterior+shot.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252716140-OK573CAIR97VESEHSUBW/price+taker+price+maker+detail+24.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632393988237-RTD5F3GR2CUJOVK7NEDG/istanbul+8%2C9+and+10+014.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617084057466-GO1Y8RT7IO4HEQ1H287I/Blood+on+Silk+Surgery+097.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620218857141-B709MVZU75EJLZ8WS72Q/DSC_3602.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1633599710251-I24KXB3SJJZXS83DFZZ2/web+Blood+on+Silk+Kandos+323.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626690581474-YG1HPL12P4LMPJKAS6S0/DSC_0165+%282%29.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252875521-8M0KFTB8OCTOARFJJFJG/DSC_0060.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/10d28462-1870-4c84-b2a1-1cb14035b122/Lines+in+the+Landscape+%28364%29.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620471100388-E2M1FCQYDE9TMD6TQF0K/Aberdeen+st+marks+entry+.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757273186-6CYLR7NXUJU872O4JGP5/Scan257.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/a4b45ea2-fcd8-4b9a-b031-f751f7b25cbd/Oral_Hist_+%285%29.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/987d0331-3d5c-47f9-9449-12d77276b769/Oral_Hist_+%284%29.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f959ff0b-9461-4a4c-896c-29e0e54c03bf/Oral_Hist_+%287%29.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1e60ad0d-8337-4d9e-8511-43393a548aec/Oral_Hist_+%283%29.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/d4ff85a4-c0f3-4ec7-aee3-b4aa769c3258/Oral_Hist_+%286%29.JPG https://www.fionadavies.com.au/performative daily 0.75 2025-06-04 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/2ed93d58-6dd3-4df8-866f-e9f302cf8abc/DSC08322ed.JPG Performative - Performance: Procession, 2022, horse puppets, silk, wire and thread carried in procession, size variable in Carnivale Catastrophe at Cementa22 in Kandos, Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7644b529-66fe-4e21-b55f-89fa55db6fbd/short+history+detail+2+.jpg Performative - Performance: Once Upon a Time, Long Ago and Far Away: The Patient Remade, 2022, installation video and spoken word, size variable, 50’ in Lumiere Festival of the Moving Image at Rhomboid Studio Mt Victoria 2022 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f7f533d2-8e31-4d0c-bc16-f75e0a004814/Screenshot+2025-06-04+175446.jpg Performative - Performance: Before Bed, 2021 Audrey Newton and Fiona Davies at Unfix Festival of Performance, Glasgow UK 2021 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/ccb6e946-e2cf-459e-be1c-8368fd65768a/DSC07583.jpg Performative - Performance: Racing Patience ICU, 2019, canvas tent, chairs, table playing cards, instructions and lighting at the Groundswell Conference, Fairmont Resort Hotel, Leura, Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616211768472-8FU8WJVL8JPEC0A2NKCF/DSC07748.JPG Performative - Performance: Performative Lecture, 2019 exhibition plus spoken word, time variable, at Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630315588901-SWDPHLMUGD296IIFZMHT/0S6A4324+%282%29.jpg Performative - Performance: Racing Patience ICU , 2018, card game plus props in Holding Space, at the Kiosk, Katoomba, Australia. Curated by Danica Knezevic https://www.fionadavies.com.au/curatorial daily 0.75 2026-03-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/a43b98c9-1139-4878-93f4-6808fba0c6ad/Carnivale+Catastrophe+May+2022+phot+Ross+Waldron+%2812%29.jpg Curatorial - Curation, Exhibition and Performance: Carnivale Catastrophe 2022 presented by MAPBM in Cementa 22, Kandos, NSW, Australia 2022 The curated artists were Ann Graham, Sean O’Keeffe, Rhonda Dee, Beata Geyer, Kenneth Lambert and Fiona Davies https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/70058a84-c0aa-4cd8-b1c2-5b2da6e07c42/DSC04392+%282%29.jpg Curatorial - Curation: Fabrik presented by MAPBM at Penrith Regional Gallery Home of the Lewers Bequest, Emu Plains Sydney Australia 2020/2021 The exhibition conceived and implemented by MAPBM was titled Fabrik. The title of this exhibition, overlays the word fabric, the basis of all textile and clothing, with the word fabrik to emphasise the place of making, of manufacture rather than just the material being made. The five artists, Vivienne Dadour, Beata Geyer, Anne Graham, Ian Milliss and Ebony Secombe are members of Modern Art Projects Blue Mountains (MAPBM) which is based in the Blue Mountains and Western Sydney. MAPBM is a membership-based group which seeks to develop the practice and public presentation of contemporary art in this region and this context. The idea that the object is not independent of how it is made, how it is used and how it is disposed of is the basis of this exhibition. By looking at one element of our lives - how we buy and wear clothes and buy and use textiles in our homes - we can consider so many other aspects linked to us through these everyday activities. We can think about conditions of employment, how we use, reuse and dispose of the materials in our world, how our history informs our present and how change can be sought.. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630313361931-JMMNSYKKFPROTZUG50W4/DSC_5314+%282%29.JPG Curatorial - Curation: SEWNUP presented by MAPBM at Lyttleton Stores, Lawson, Australia 2020 SEWNUP 1 and 2 presented by e MAPBM exhibitions, a Blue Mountains contemporary arts group questioned fundamental aspects of how we manufacture, use and dispose of clothing, footwear and textiles. SEWNUP I opened on the 4th April 2020. It then reopened in October 2020 after Covid-19 lockdown conditions had been eased. In the comfortable and familiar surroundings of the popular cooperative store and gallery the artists examined the materiality of sewn consumer goods and some of the questionable aspects of their manufacture and disposal, including the economic security and conditions of workers in these industries. SEWNUP also explored the feasibility of reusing or repurposing textiles, clothing and footwear – as well as the major ecological impacts of their disposal to landfill. The public was invited to examine the delight of these consumer goods, but also to become more aware of their downside. SEWNUP occupied the space between the beauty and appeal of textiles. clothing and footwear and the impacts of their production and disposal on the social and ecological fabric of society. This project was supported by the Blue Mountains City of the Arts Trust https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629629289342-5WUPPPJVZ11NCMK5JY5E/Scan350+%282%29.jpg Curatorial - Curation: Op Shop, Maitland Regional Art Gallery MRAG, Maitland NSW Australia 2013 I was asked to curate the last all gallery exhibition to celebrate the long tenure of the Gallery director Joe Eisenberg. Joe asked me to combine my interests in oral history, using multiple of domestic objects as art materials and the practice of op shopping as looking for the randomly gorgeous, as a key part of my art practice. I selected a number of other artists who also used these practices. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617856020531-MLOET3HSQ73T19JO4TRR/Death+3+invite.jpg Curatorial - Curation: Death 3 I don’t think we’re in Kansas anymore exhibition at Parramatta Artists Studios, Parramatta, Sydney Australia 2013 Death 3, I don’t Think we’re in Kansas Anymore was the third and final exhibition at Parramatta Artist Studios in this series thinking about death. As Ann Finnegan wrote in her catalogue essay; ‘This, the final exhibition of a trilogy… startles with its premise of ‘relationships with a body, the body of the deceased. the very work relationship conjures closeness, intimacy, live negotiations entered into, engagements of live bodies among the land of the living. Indeed the work relationships enters into a certain ongoing-ness. Therefore it’s strange , even arresting to think of a relationship with the dead body. ‘A body was found.. we indicate a corpse. Consort with the dead, you breach a taboo. For what is the body, the body found dead but a kind of material remainder, in Derrida’s terms’ a leftover’, the rest, the spirit departed. A body, ‘ a body was found’. is something abject, tinged with horror, requiring disposal, separation. ’ https://www.fionadavies.com.au/museums-1 daily 0.75 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Museums and Galleries (Copy) - Adam Art Gallery/Te Pātaka Toi, University of Wellington, NZ. 2005 The curator Sophie Macintyre choose my work Ice/ Plain as a glass of water for the exhibition Breaking Ice. She wrote in the exhibition catalogue that Breaking Ice: ReVisioning Antarctica explored the ways in which Antarctica has been perceived and imagined, historically and culturally. Featuring work by eight contemporary artists from New Zealand and Australia, Breaking Ice presented visual translations of experiences, perceptions and fantasies of Antarctica in distinctive and critical ways, playfully critiquing the processes of Antarctica’s visual representation and revealing the ways that it has been mythologised. This exhibition was toured in 2006 to the Invercagill Museum, Invercagill NZ. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321353854-HQGVIXJ4SQ7NPY93R2F5/FDAVIES02+%282%29.jpg Museums and Galleries (Copy) - Airspace, Marrickville, Australia 2016 Her Moving Presence was curated by Yvette Hamilton and Danica Knezevic. They selected the work Blood on Silk/Bleeding Out metal, glass, paint, ink, projection and found objects, 135 x 78 x 96(h)cm. for the exhibition of female artists working with moving image. The curators focused on the ideas of implied and actual presence. Art Academic Jacqueline Millner questions in the catalogue essay - ‘ What happens when the moving image renders the the invisible visible, and the significance of this to scientific scopic regimes informs the work of Ella Condon and Fiona Davies ….Davies Blood on Silk Bleeding Out scrutinises the medical gaze - from the microscope to the total surveillance of intensive care - and its infiltration of our embodied experience.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629852907656-NVER6G3M2BSDBLUBGUP2/Fiona-Davies-for-Ian-Milliss.jpg Museums and Galleries (Copy) - Artspace, Sydney, Australia 2013 An survey exhibition of the work of Ian Milliss, Notes on the Works included my work As per Instructions I. In his multi part exhibition, the artist Ian Milliss included a series of instructional works which had been made and remade by others over the years of his practice. The Instructions to me for this work were relatively simple - I was to use strips of canvas, 200mm or so wide and what ever length I wanted, make them whatever colour I wanted and nail the strips to the wall in whatever way I wanted. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630321784376-BNFAJZ7B4YMD4OEJH8WR/Bleeding+Out+Book+006+-+Copy+%282%29.JPG Museums and Galleries (Copy) - Beaney House of Knowledge, Canterbury, UK 2016 My artist book/instructional manual, Blood on Silk : Bleeding Out (Internally) The Book was selected for the group exhibition Prescriptions at The Beaney House of Art and Knowledge, Canterbury, UK. It was jointly selected by Egidija Čiricaitė and Dr. Stella Bolaki/University of Kent. This book, Bleeding Out (Internally) consists of two parts, A and B. The sizes of the two parts are slightly different so it is not obvious that they belong together. Part A is a picture book intended to be touched, pages turned and held close by the reader. The images are representations of the sublime in the materiality of blood or bleeding out (internally). Part B is an instructional manual trying to make sense of a short, traumatic, catastrophic event such as uncontrollable internal bleeding. The patient and the witness experience this event simultaneously but not together https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629702332777-RSXITDTAP0178SWRIWQK/mem_when4.jpg Museums and Galleries (Copy) - Blacktown Arts Centre, Sydney Australia 2008 The Installation Memorial/ When I was Younger was commissioned by the Blacktown Arts Centre as a response to the history of the former school buildings. The installation was made of several independent works working in three rooms of the heritage site. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1627725478439-529VCMHO18811NEXWKE0/davies+fiona+overall++%282%29.jpg Museums and Galleries (Copy) - Blue Mountains Cultural Centre, Katoomba, Australia 2020 The work Once upon a time long ago and far away: shutting down in isolation, video 4’15” was commissioned by the curator Sabrina Roesner for the group online exhibition, Shift + Control + Exit at the Blue Mountains Cultural Centre Katoomba Australia. Website https://www.shiftcontrolexit.com/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614300522815-FZ2KYT2PUPFQYUE9DGJ5/Detail+2+credit+pPamela+Kleemann.jpg Museums and Galleries (Copy) - Blue Mountains Cultural Centre, Katoomba, Australia 2019 A group exhibition titled Resilience in the times of adversity, Contemporary responses to WWII, was devised and curated by Vivienne Dadour for the Blue Mountains Cultural Centre, Katoomba, NSW, Australia. Vivienne selected the work Coughing up Blood for this exhibition. Follow the link on the image on the left to find out more. During most of World War II tuberculosis was treated by isolation, rest, nutrition and clean air. Sanatoriums to provide treatment including isolation had been established in the Blue Mountains for many years and infected soldiers were often treated here. Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630322162547-PVZ5UIVTWY49GKD570N2/IMG_5540+%282%29.JPG Museums and Galleries (Copy) - Campbelltown Arts Centre, Sydney, Australia 2021 Space YZ was a group exhibition of the student and early career works of eighty eight practicing artists/graduates from the now defunct Art School at Western Sydney University. I completed an undergraduate visual arts degree at that art school in 1986. Three of my works were selected by the curator Daniel Mudie Cunningham. They were School Fire x 2, and My Grandad always said, ‘It’s easier to clean up after a fire than a flood’. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630063776294-TUCTGTBGY8G5IPHK1Y0N/blood-silk-campbelltown-7.jpg Museums and Galleries (Copy) - Campelltown Arts Centre, Sydney , Australia 2014 Blood on Silk: Campbelltown was a survey show of six of the major works from the Blood on Silk series to that date . The works were - Blood on Silk: Turn to/turn away. Blood on Silk: As per Instructions 1,2 3 and 4 2013-2014, canvas, paint and nails, Blood on Silk: Site of Production 2014 Video 2.20 mins. As installed at Campbelltown Arts Centre projected onto a black wall, Blood on Silk: Field of Flowers, 2013, canvas, paint, fabrics and found objects, each plinth 60 x 80 x70 cm(h) and painted wall section size variable and Blood on Silk: Campbelltown conflated with Blood on Silk: Trade 2011, 2012 and 2013, 2011-2014, silk paper and video, dimensions variable https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626667944402-0OOQNIGFDV2QXNGEV36V/Ice+-+Plain+as+a+Glass+of+Water+%288%29.JPG Museums and Galleries (Copy) - Canberra Contemporary Art Space 2011 Bad Girls ( 20 witness 1000) was curated by Anni Doyle Wawrzynczak . Included in the exhibition was my work Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies. This exhibition celebrated the more than one thousand women artists who had exhibited at Canberra Contemporary Artspace since its opening as the Bitumen River Gallery in Manuka in the ruins of the former St Christopher school bus shelter. Now the CCAS is recognised as a leading contemporary art space in Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617783547379-RB5Z3S3LWEMSS6LGXJ8U/Blood+on+Silk+1+2012+No+2.jpg Museums and Galleries (Copy) - Culture at Work Accelerator Gallery, Pyrmont, Sydney Australia 2011 This marks the first public presentation of work from the Blood on Silk collaboration between Dr Peter Domachuk, Dr Lee Ann Hall and Fiona Davies. This work Blood on SIlk 1 and 2 were made by Fiona Davies during the exhibition period resulting in the final work shown here. . https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618746964341-L87IZH9DHTXPJACLL337/buttoned+up+.JPG Museums and Galleries (Copy) - Gallery 19, Haymarket, Sydney Australia 1998 A suite of works formed at the junction where something is held and another thing is allowed to pass. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629880661970-2K1ZBAT3XSB9SLW16I51/tbilisi+escaltor+lights+.JPG Museums and Galleries (Copy) - Golden Age Cinema, Surry Hills Sydney Australia 2019 This suite of three short fairy tales was screened at the Golden Age Cinema, Sydney Australia under the title Once upon a time long ago, and far away x 3. Click on the more information button to watch the three videos. Imagine you have popcorn and can’t leave until the end. This was my first screening of video works within the cinema context. The narrative of the fairy tales with a beginning, middle and end was not so workable in the gallery context where the audience tends to come and go. The cinema context focuses on the idea that there is a beginning and end to the work. ell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617779596736-TRLCE00N1P2M5F2AXOX3/blood+on+Silk+farnham+.jpg Museums and Galleries (Copy) - James Hockey Gallery, University of the Creative Arts, Farnham, U.K. 2013 The work Blood on Silk: Farnham, 2010-2012, Silk paper, video and found objects, Dimensions variable was comissioned by Professor Lesley Millar for the University’s gallery. In the speech to open this exhibition Professor Simon Olding of the University of the Creative Arts in Farnham said ‘ Here, in the James Hockey Gallery, Fiona Davies has made a deeply contemplative, but also in its serene and powerfully considered way, rousing and challenging work. It is both rooted in this one place and complex in its multiple metaphors. These are personal and broadly human, subjective as well as elemental. Our entry into this major work feels like a private journey, an unfolding, wrapping and wafting; a breathing of life and loss. It is an extraordinary work both for its repetitive and mnemomic associations and its strength of sheen, its tearings and gossamered power; its whiteness and the mark of blood adjacent to the white papered hanging.Make it stand out. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631095453295-RI5QFSFQDVCTJ4WL0NFZ/DSC00261.JPG Museums and Galleries (Copy) - Macquarie University Art Gallery, Sydney, Australia 2013 ‘Like the travelogue of Twentysix Gasoline Stations (produced in 1963 by Ed Ruscha) this book uses a combination of old and new means of interaction to track a journey. The sobering question examined in text and image is what happens to a collaborative partnership when one party dies. Physical markers of the collaboration punctuate the journey in a similar manner to the photographs of service stations in Ruscha’s book, while the text allows a nuanced reflection to develop. An essay by Ann Finnegan explores the question of the impact of a death on a collaborative partnership. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629629289342-5WUPPPJVZ11NCMK5JY5E/Scan350+%282%29.jpg Museums and Galleries (Copy) - Maitland Regional Art Gallery, Maitland, Australia 2015 I curated the group exhibition Op Shop over all of the galleries of the Maitland Regional Art Gallery and included a number of my own works that reflected my practice of op shopping. The other artists selected for the exhibition component were Nicole Barakat, Cath Bowen, Fiona Davies, Sarah Goffman, Fiona Hall, Donna Marcus, Kiri Morcombe, Luke Roberts, Surabhi Saraf, Louise Saxton, David Sequeira, Maeve Woods, The Modified Toy Orchestra, Toydeath, Raqs Media Collective and Lex Rogers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630398580992-ECDNGL6G8A3AY0OPGY26/BoS+Blood+Bags+Scans+_006+%282%29.jpg Museums and Galleries (Copy) - Maitland Regional Art Gallery, Maitland Australia 2015 Prior to his retirement in 2015 Maitland’s long time Director, Joe Eisenberg organised what he described as one last begging exhibition of works on paper that were to be donated to add to the gallery’s collection through the exhibition, The piano has been drinking not me. A total of just under one hundred and seventy Australian artists responded to this idea. My work Blood on Silk: Blood Alcohol Content 2014, 30 x 20 (h) cm digital print was my response to Joe’s begging letter. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753357510-66N0B3L8VS5PB264KGSZ/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Museums and Galleries (Copy) - Maitland Regional Art Gallery, Maitland, NSW, Australia 2013 Curated by Cheryl Farell, the group exhibition Dark Edges of the Collection included my 2008 video work Memorial/Time of Death She wrote of this work in the catalogue that” ….in the video work Memorial/Time of Death, flowers so often a witness of death, have been filmed over a period of time, slowly deteriorating. Projected onto a dark wall this work becomes emotionally potent as the edges of the iamges become ambiguous, conveying the concept that ‘the time of death” is fluid and there is often no one particular moment in which we can determine the moment of absence. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629631591848-W77YJ3DPVTRSGHCGZIDO/Maitland+Intangible+Collection+C.jpg Museums and Galleries (Copy) - Maitland Regional Art Gallery, Maitland, Australia 2009 Intangible Collection,2009, rice paper, wood, video, sound, video, paint, ink, photographs, found objects historical items on loan, oral histories, an installation 7.8 x 20metres was commissioned by the Gallery Director Joe Eisenberg OAM for the official opening in 2009 of the new exhibition spaces and buildings. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630322377834-VRHBV83WA0T5CB0BWQ23/Blood+alcohol+on-silk-bloodbags-004_edited-3+%282%29.jpg Museums and Galleries (Copy) - Newcastle Art Gallery, Newcastle, Australia 2018 Three of my works were selected from the collection of the Maitland Regional Art Gallery for the group show Hunter Red: Corpus at the Newcastle Art Gallery. Memorial / Time of Death No. 3, 2008, print on paper, 90 x 110 (h) cm Memorial/Time of Death, video, 3 minutes 30 seconds, 2008, and Blood on Silk: Blood Alcohol Content, 2014, print on paper 30 x 20(h) cm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688835900-MCSEMK5VOHCZ3DOR2Q4F/Memorial+Hanky+Instal+%2826%29.JPG Museums and Galleries (Copy) - Oceania Centre, University of the South Pacific, Suva, Fiji 2005 The philosopher, Epeli Hau’ofa founded the Oceania Centre at U.S.P. in 1997. It was a ground breaking art/culture facility embedded within the landscape of the Pacific. The work Memorial/Hanky was exhibited at the Centre during my artist residency. As the work was installed under a curved open air roof it was decided that the work should be raised and lowered everyday as if it were a flag. The evening lowering of the work became a well attended event in the daily life of the Suva campus of the university. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617602885291-3GXVZ1XATOV4DWVZZ6AV/IMG_5561.JPG Museums and Galleries (Copy) - Peacock Gallery and Auburn Arts Studio and Auburn Botanic Gardens, Sydney, Australia. The Exhibition Open Field was curated by Kon Gouriotis. he selected a small work from my Buttoned Up series to be the starting point for the creation of a black perspex replica. Gouriotis wrote in his catalogue essay that ‘ Open Field is project in two parts, to be shown simultaneously as an exhibition and a site specific installation. One component is presented in the Peacock Galleries adjacent to the entrance of the Auburn Botanic Gardens, the other within the gardens. The galleries were formerly a kiosk and the Gardens rescued the Duck River so the exhibition is a mediation on, and a metaphor for, change and transformation. The intention is to expand Black’s Utopian vision by placing works by 15 artists from Western Sydney in the Galleries and an enlarged three dimensional geometric replica of each work, made from black transparent acrylic (perspex) in 10 different locations within the gardens. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626758538215-168BFZ0Y39PR0702BCYW/Scan302.jpg Museums and Galleries (Copy) - Physics Room Christchurch NZ 2002 Five objects from the Canterbury Museum were investigated through the museum’s archives. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630153676677-LJZ98XZTVOVN0MTDB8O1/Davies_Fiona_+Being+the+overconfident+Supervisir+%283%29.JPG Museums and Galleries (Copy) - Plas Bodfa, Wales, UK Unus Multorum, (One of Many) Plas Bodfa Objects, Wales, UK contained this suite of ten small sculptures titled Blood on Silk: Try to hide/try to stand out, No’s 1 to 10, 2020, variable size each approximately 12 x 10 x 10(h)cm, Balsa wood, paint, found objects. This work started as a speculation about the implications of human farming for blood plasma, whole blood and body parts. In those situations the individual producer is one of many. They are anonymous. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630323011793-R2C0QZERE912ZW649PQQ/cropped+photo++%282%29.jpg Museums and Galleries (Copy) - Riddoch Arts Centre, Mount Gambier, South Australia. 2020 The expert selection panel Simon Biggs, CJ Taylor, Merilyn de Nys, Melentie Pandilovski, Serena Wong and Melissa Horton chose my work Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’15” for the International Limestone Coast Video Art Festival at the Mount Riddoch Art Centre, Mount Gambier, South Australia. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629882165962-P7V8GZ0AF2VSV43JNIIS/Blood+on+Silk+Buy+Sell++%2837%29.JPG Museums and Galleries (Copy) - Riddoch Arts Centre, Mount Gambier, South Australia. 2017 These five prints Blood on Silk: Commercial Quality No.’s 1, 2, 4, 8 and 10, 2017 photographic print 120 x 80(w)cm, were selected for a group exhibition, Rise of the Bio Society Riddoch Gallery Mt Gambier, S.A. Australia curated by Melentie Pandilovski. These five works have since been acquired by the collection of the Mount Gambier Art Gallery, S.A. Australia The other artists in the exhibition were Eduardo Kac, Niki Sperou, Critical Art Ensemble, Helen Pynor, Rafael Lozano-Hemmer, Paul Thomas, Trish Adams, Guy Ben-Ary & Boryana Rossa, Gary Cass, Andre Brodyk, Svenja Kratz, and Michalis Pichler. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600575572601-BQ0WL3R0O6E6POFNF7N5/Blood%2BCatalogue%2BCover%2B.jpg Museums and Galleries (Copy) - Science Gallery, University of Melbourne, Australia 2017 Blood: Attract and Repel was the inaugural popup exhibition for the Melbourne Science Gallery. It was installed in the Frank Tate Building in the University of Melbourne Parkville campus. Originally built in 1939-1940 the building had many art deco elements both in the design of its exterior and interiors. The exhibition included historical medical artefacts from the Medical History Museum and the Harry Brookes Allen Museum of Anatomy and Pathology at the University of Melbourne with contemporary artworks by Ollie Cotsaftis and Sarah McArthur (Aus) Basse Stittgen ( NL/DE), Hotham Street Ladies ( Aus/UK/DE), Bea Haines(UK) John O’Shea (IE) Daniel Elborne (Aus) Tobias Klein, Victor Leung and Jane Prophet (CN/USA/UK) Penny Byrne (Aus) Jipil Jung (KR) Izabela Zolcinska (PL/NO) John McGhee (Aus) Jordan Eagles (USA) Bai Yiluo (CN) Cecilia Jonsson (SE/NO) Art Oriente Objet ( Marion Laval-Jeantet & Benoit Mangin) (FR) Nick Thieberger and Rachel Nordlinger (Aus) Judy Watson (Aus) Raphael Lozano-Hemmer (MX/CA) https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630064375857-4ZA27R2ZISI9POSFE2YF/Blood+FOuntain+Cropped+detail+F+%282%29.jpg Museums and Galleries (Copy) - Stacks Projects, Potts Point, Sydney Australia 2017 In Overlook, a two person exhibition with Anita Bacic, two works were shown - Blood on Silk: Blood Fountain and Blood on Silk: Bleeding Out . Both works focus on blood and blood products in transit, or in motion. The movements and transitions of blood and blood products through the human body, from one body to another, from one part of one body to another part, and from within the body to permanently outside the body are located in a range of economic, technological, and social contexts. The movements of body parts from one body to another is always assisted, can occur through both legal and illegal channels, and can involve both live and dead producers. Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614292178391-WRJEN2BDGY480H9LQXPJ/buy+sell+in+context+3.jpg Museums and Galleries (Copy) - Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia 2019 The solo exhibition Cast a cold eye on life, on death: The Remake: Medicalised Death in ICU, was shown in three of the gallery spaces at the Kirkbride campus of the SCA Gallery, University of Sydney, Australia .The thesis accompanying this exhibition can be viewed/downloaded from the University of Sydney Library website at https://ses.library.usyd.edu.au/handle/2123/21232 Cast a Cold Eye on Life, On Death is a quote from W.B.Yeats The exhibition consisted of nine major works installed as a sequence activated by a performative lecture. The works were -Medical Monitor Work, 2017 video 7’23”, Racing Patience ICU 2018, canvas, paint, found objects and printed matter, dimensions variable, Blood on Silk: Last Seen (partial) 2017, reconfigured 2019 metal, paint, vinyl print and found objects, dimensions variable, Blood on Silk: Price Taker Price Maker 2015 reconfigured 2019 Sound, printed materials and found objects, dimensions variable, Blood on Silk: Last Seen (partial) 2017, reconfigured 2019, silk paper, dimensions variable., Blood on Silk: Blood Farming/The Producers, 2018, plastic, metal, paint, ink, projection and found objects, 135 x 78 x 96(h)cm, Blood on Silk: Bleeding Out, 2016, metal, glass, paint, ink, projection and found objects, 135 x 78 x 96(h)cm, Blood on Silk: Buy/Sell, 2017, metal, glass, paint, ink, projection and found objects,135 x 78 x 96(h)cm, Blood on Silk: Magenta No Exit, 2017, canvas, paint wood and satin ribbon, 285 x 285 (h)cm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619258033784-NF4OJZX22A0ZY32KWHLM/Medical+Monitor+Blanket+.jpg Museums and Galleries (Copy) - Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia 2018 The solo installation Blood on Silk: Where they were last seen was installed at the SCA gallery at the University of Sydney, in the exhibition Being towards Death curated by Tian Kang and Yunyan Tang as part of the Masters of Curating degree at the University of Sydney. At the Verge Gallery my work Racing Patience ICU was installed as part of the group exhibition ‘In Translation’. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604128261926-NBK1CUGNM6R3EJ2OXPL8/DSC_5294.jpg Museums and Galleries (Copy) - Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia 2017 My work Blood on Silk: Last Seen at SCA, was selected for a group exhibition, ephemera at the Sydney College of the Arts Gallery, University of Sydney by the curators Clara Cheong, Pamela Hale, Jeanie Ho, Sharon Hong, Elsa Kwok and Alana Leslie. The other artists in the exhibition were Clache Raong, Ema George, Jeanie Ho and Harry Seeley. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629706025286-VCH2QKEQ5FGTJFPCMQ1K/site+1+detail+.jpg Museums and Galleries (Copy) - The State Silk Museum, Tbilisi, Georgia, 2019 The solo site-specific exhibition Woven Architecture in sites 1 and 2 was developed on site and then exhibited at The State Silk Museum in Tbilisi, Georgia initially from July 1st to 29th 2019 then the exhibition was extended until Oct 2019. Woven Architecture is a site specific weaving in two sites within the State Silk Museum. The weaving is made of ribbon and is made of and on the architecture of the site. In this work, the I responded to the institutional interiors of the State Silk Museum in Tbilisi by the making of a site-specific weaving using satin ribbon in shades of off white and black. The structure of the weaving will be made solid by the architecture and the tension or stability of the weave will be the stability and tension of the architectural elements.Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619917265323-6RKW3OV4OBN2FLIWNGS5/State+Silk+Museum+blood+passport+.jpg Museums and Galleries (Copy) - The State Silk Museum, Tbilisi, Georgia 2014 Blood on Silk: Tbilisi, 2014, installation, silk paper, rice paper found objects, paint, stickers, video and thread, dimensions variable. The State Silk Museum founded by the natural scientist Nikolai Shavrov is one of the oldest among the world’s silk museums. The museum is located in a building, which was specially built for the Caucasian Sericulture Station in 1887 by Polish architect Alexander Shimkevich. The building has a status of a cultural heritage monument at present. The museum displays quite a versatile and multinational exposition. The collection features objects from 63 countries. Unlike other silk museums (mostly displaying only silk collections) the showing offers everything about silk and sericulture: a unique collection of cocoons (5 000 cocoons of different origins and variations); silkworm biology; special containers for silkworms and eggs (approximately 200 containers); a collection of textile artisanally produced in the Caucasus (19th century); a collection of laces produced in Germany (approximately 400 patterns); a collection of natural and chemical dyes with colored threads (dyes from 16 countries); a butterfly collection (314 butterflies of 161 species); a collection connected with a mulberry tree and etc. There is a unique library in the museum, keeping rare books dating back to the 18th-19th centuries, these books about natural sciences are in Russian, English, German, French, Italian, Rumanian, Hungarian, Chinese, Japanese, Persian, Arabian languages. Museum and library furniture made according to sketches of the architect A. Shimkevitch have preserved their authentic image until today. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630400131614-B3Z2YV5ZDTEQB1UFFJPS/Blood+onSilk+As+per+Instructions+at+griffith+063.JPG Museums and Galleries (Copy) - The Whitebox, Griffith University Gallery, Gold Coast Campus, Queensland, Australia 2014 Installed at Artspace Sydney in late 2013, the work Blood on Silk: As per instructions I was exhibited in the exhibition, Notes on the Work a survey exhibition by Ian Milliss. Here at Whitebox it was joined by As per instructions 2, 3 and 4. As part of Milliss’ open ended practice, Ian had given instructions to other artists for the production of artworks, referencing works he made in the early 1970s. These instructions were – use strips of fabric 200 to 250mm wide each painted a single colour and then nail to the wall as you want The three later works Blood on Silk: As per Instructions 2,3 and 4 were made in 2014 again referencing the code of the barber’s pole and its subsequent distortion or mutation. The code utilised in the first of this series is the pattern made by eight drops of blood falling from one metre. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Museums and Galleries (Copy) - S.H. Ervin Gallery, Sydney, Australia 2004 The Year in Art 2004 exhibition aimed to present the best works selected from exhibitions that had been held at Sydney commerial art galleries throughout the year of 2004. The three invited selectors, Laura Murray Cree, Nick VIckers and Jane Watters, viewed most of the exhibitions throughout the year and nominated fourty-eight works that they believed represented the scope of contemporary art practice. My work Ice/Plain as a Glass of Water was nominated by Nick Vickers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630832073073-E14PGIIJU5TID00GO0UY/DSC04614+%282%29.JPG Museums and Galleries (Copy) - Verge Gallery, University of Sydney, Sydney, Australia 2018 Curated by Faye Chen, Karen Cheng, Amber Fu, Rachael Helmore, Tian Kang, Yunyan Tang and Danyi Wang the exhibition In Translation introduced the works, Racing Patience ICU 2018 and its associated performances to a new audience within the curatorial examination of the concept of translation being a concept of challenge and restructuring. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630398871817-0T5WWPZMYQT0MG9X3U82/Blood+on+Silk+Magenta+ICU+Book+Images+024.JPG Museums and Galleries (Copy) - West Gallery, Hazelbrook, Australia 2015 This work Blood on Silk: Magenta, 2015, 285 x 285 cm, ribbon, paint and canvas was selected for the group exhibition Unfolded curated by Beata Geyer at West Gallery in Hazelbrook. In this work the codified pattern of eight drops of blood falling from one metre onto a hard surface is further coded into a weaving pattern, using satin ribbons and solid canvas. Through variations of the dyed colour magenta and the reflective properties of the satin weave in the ribbon, the work responds to the position of the viewer relative to the angle of light as a photonic device. In addition the location of the work in the gallery space exposes the sideways view of the work to the casual passing viewer in the corridor. Magenta as a name for a colour has been linked with war and bloodshed since the name of the aniline dyestuff Fuchsine was changed in 1859 to magenta to celebrate the French victory at the battle of Magenta in northern Italy. https://www.fionadavies.com.au/site-specific-1 daily 0.75 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631253854640-AGNPL5R8ZZR7KS1T8BB9/istanbul%2B6th%2Bjune%2B2012%2B001.jpg Site-Specific (Copy) - Caravan Sarai, Istanbul Turkey 2011, 2012 and 2013 Three exhibitions, numerous artist talks and three residency periods'. The interplay between the roles of observer, observed, the outsider and the everyday were explored by Fiona Davies in three month long residencies at Caravansarai in Istanbul, Orhan Pamuk expressed these tensions in his memoir, Istanbul, Memories and the City . He describes how when his cousin opened the window, ' … it was usually to spit on the roof of a car struggling up to the tope of the alley, or throw a nail or a firecracker he had skilfully attached to a string. Even today, whenever I am at a high window that looks out onto the street, I can’t help wondering how it would feel to spit down on passersby'. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252362913-4WW4HLA4J892SB1F6WTN/untitled-114+ATodic+web.jpg Site-Specific (Copy) - Casula Arts Centre, Casula, Sydney, Australia 2017 The work Last Seen was selected by the curator Lizzy Marshall for the First Turbine Hall Commission at Casula Powerhouse, Casula, Sydney, Australia. The turbine hall at Casula Powerhouse Arts Centre in Sydney, Australia is the first space entered by the visitor. It is large, at first glance it is apparently empty, a space approximately 13.8 metres high by 12.7 metres wide and 26.5 metres deep. The ground floor of the hall is the site of multiple points of transition and multiple points of decision making, some of which relate directly to the architecture and some to the usual patterns or paths of passage in this architectural space resulting in an invisible crisscrossing pattern of use. As in most hospitals once you enter the doors you have to make a decision about where you are going and it maybe the last time you are seen. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620218857141-B709MVZU75EJLZ8WS72Q/DSC_3602.JPG Site-Specific (Copy) - Cementa 13, Kandos NSW Australia 2013 Cane, 2012 video was commissioned by Cementa as a site specific work in the Kandos Museum local history section. In the video, Cane, individuals tell their stories supported by a sound track of scales being practised on an out of tune piano. The visual imagery is a a sequence of the palms of the hands of those sharing their stories. Each palm is the site on which a form of school punishment known as the cuts was practised. The student being punished held out their hand palm up and was hit with a cane for a specified number of times depending on the required severity of punishment. The stories are of applied justice, accepted, rejected and/or still resented. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252716140-OK573CAIR97VESEHSUBW/price+taker+price+maker+detail+24.jpg Site-Specific (Copy) - Cementa 15, Kandos, NSW Australia 2015 The work Blood on Silk: Price Taker / Price Maker, 2015 was installed in the Dabee Nursery and Bric a Brac store on the eastern edge of town after I selected for the group exhibiotn, residency and engagement of Cementa 15. The arts writer and critic Gina Fairley wrote for Hub in 2015 an article titled ‘Cementa15 - a regional festival in pictures Twenty good reasons to put Cementa on your radar - a festival that happens every two years in regional NSW. She wrote in the article that ‘One of the more powerful works in Cementa15 was Fiona Davies’ work from her Blood on Silk series. Stacked in your typical tin shed at the Dabee Road Nursery, this installation combined a sound element of an auction of medical supplies - blood and plasma - what Davies said is not dissimilar to an agricultural auction.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614151400639-462X08EK670IUBYAAO5E/exterior+shot.jpg Site-Specific (Copy) - Das KloHäuschen and Villa Walberta, Munich, Germany 2016 Two exhibitions, four video nights on site, artist talk off site + residency’. Das KloHäuschen is the site of a former urinal adjacent to the main fruit and vegetable markets in the city of Munich in Germany. The wholesale food market in Munich is a site of economic activity where people are buying and selling, making deals and negotiating. So I found with KloHäuschen which is situated directly beside the Wholesale Market, a perfect place to speculate about a possible future process of selling blood, the auction. An economic process clearly showing the interaction between the buyers and the sellers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252875521-8M0KFTB8OCTOARFJJFJG/DSC_0060.JPG Site-Specific (Copy) - Lincoln College, Oxford University, UK 2009 The second work in this series was installed in the chapel of Lincoln College at the Oxford University UK in 2009, The details of the work are Memorial/Double Pump Laplace III, 2009, installation, photographs, sound and found objects. The other two site-specific works in this series can be found under School of Physics, University of Sydney and St Marks Church Aberdeen NSW Australia.. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626690581474-YG1HPL12P4LMPJKAS6S0/DSC_0165+%282%29.JPG Site-Specific (Copy) - School of Physics, University of Sydney, Foyer Museum 2010. The third work in the Memorial/ Double Pump Laplace , site-specific series was installed in the foyer of the Physics Building at the University of Sydney. The Building was designed by the architect Leslie Wilkinson in 1925. The other two site-specific works in this series can be found under St Marks Church Aberdeen NSW Australia and Lincoln College Oxford University UK. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252961694-R6ZTXX1V5IEFXA6DNKOY/B+on+S+Price+taker+at+SINV+2016++%282%29.jpg Site-Specific (Copy) - Sculpture in the Vineyards, Wollombi, Australia 2017 Blood on Silk: Price Taker/Price Maker was reconfigured for this exhibition of site specific installations by the curator Lizzy Marshall. Sited in a heritage building, the Forge in the middle of the town of Wollombi, the country origins of the auctioneer were reinforced., the floor was rough and unlevel, the walls were partially complete and it looked like a fly by night operation. That this operation was auctioning blood and blood products with an expectation of hygiene and professionalism was neither here nor there but it was not what we were getting. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631253157076-CELE2H5EQJOL5PZPUF0V/DSC_6243.jpg Site-Specific (Copy) - Tufts University, Boston, USA. - Silk Biomedical and Engineering Labs 2014 This was not a public exhibition – it could only be seen by those who worked in this particular set of scientific laboratories within the silk laboratory at Tufts University Boston where they ‘.. study the use of silk as an optical material for applications in biomedical engineering, photonics and nano photonics’ This installation intervened into a process necessary and common within science, that of moving and reorganising equipment from one space to another. In transition a stack of materials lay in the middle of the floor of the analytical laboratory This floor to ceiling installation of silk paper framed this pile of stuff refocusing on the ephemeral nature of the administrative process within the practice of the scientific method. On the last day everything had been moved on leaving a solitary Allen key within the space designated by the silk paper. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616486970628-SM5KH2M7IYCROZL1OCEP/Control+front+cover+.JPG Site-Specific (Copy) - University of Stockholm, Sweden June 14-17 2016 The curator, Dehlia Hannah selected the work Blood on Silk: Price Taker/Price Maker for the series of site specific installations. Hannah described this exhibition on her website as ‘The concept of experiment is governed by competing ideals of control and playful freedom. While the controlled experiment is widely regarded as the gold standard of the natural sciences, the aspiration to control, direct, test and constrain novel operations is also prominent in artistic, social and political practices of experimentation. The experimentalism of the arts, where to experiment connotes defiance of rigid norms and expectations and an openness to indeterminacy and even failure, likewise finds its counterpart in the exploratory dimension of scientific research. The dark legacies of authoritarian political experiments likewise stand in tension with the emancipatory promises of liberal ‘experiments in living.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620471100388-E2M1FCQYDE9TMD6TQF0K/Aberdeen+st+marks+entry+.jpg Site-Specific (Copy) - St Mark’s Anglican Church, Aberdeen, Australia 2006 The first of this series of works was installed in the Anglican Church in Aberdeen in NSW Australia. The details of the work are Memorial/Double Pump Laplace I, 2006, installation, textile, found objects, thread and buttons. One of major issues considered in this installation is the domestication of the daily rituals of intensive care including the taking blood samples. Marian Benjamin in the 2006 catalogue accompanying Memorial / Double Pump Laplace I wrote of that work. “Once you know your way around you no longer need to read the signs, they are just there, part of everyday life, habitual. And there is comfort in habit……… Death too is unremarkable. We all die. It is an experience of which we are all aware. And yet our experience of death, of loss, of grief is far from unremarkable.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617192898219-Q9U5EECBM5RXVFF16K49/DSC_2148.JPG Site-Specific (Copy) - The Kiosk Katoomba Australia 2017 Cementa Moments at the Kiosk coincided with Cementa-17 in Kandos NSW. A selection of works from the previous Cementa exhibitions were reshown in different types of locations within the Kiosk that resulted in the works being read in quite different ways. This work Blood on Silk: Price taker/price maker originally part of Cementa-15 held onto its sleazy, dodgy and creepy feel as the sale of blood and body parts moved in a poorly cleaned commercial kitchen. It felt as if the products offered for auction such as bags of human blood and plasma could be confused with quite ordinary kitchen supplies. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630238130650-0ULR8OGAHK9JD7KVC513/Painting+the+throat+8.jpg Site-Specific (Copy) - Woodford Academy, A National Trust Property, Woodford, Australia 2017 Painting the Throat, 2017, zinc,found objects, rice and other papers, iodine and ink, dimensions variable was installed in the group exhibition Explorers Narratives of Site in Contemporary Art Practices curated by Beata Geyer and Mahalya Middlemist in the National Trust of Australia property Woodford Academy, Woodford, NSW, Australia.. In the exhibition catalogue Jacqueline Millner, Associate Professor of Visual Arts at La Trobe University writes; ‘Fiona Davies reimagines and revitalises lost histories too, in this case bringing her sensitivity around the medicalisation of vulnerable people to the boy boarders once resident here. Davies has rendered the basins in the boys’ washroom into pathology slides: as we peer down, we catch a glimpse of disease and possible institutional responses to it, gaining a visceral sense of how these young bodies were once patrolled and controlled.’ https://www.fionadavies.com.au/site-specific-2 daily 0.75 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631253854640-AGNPL5R8ZZR7KS1T8BB9/istanbul%2B6th%2Bjune%2B2012%2B001.jpg Site-Specific (Copy) - Caravan Sarai, Istanbul Turkey 2011, 2012 and 2013 Three exhibitions, numerous artist talks and three residency periods'. The interplay between the roles of observer, observed, the outsider and the everyday were explored by Fiona Davies in three month long residencies at Caravansarai in Istanbul, Orhan Pamuk expressed these tensions in his memoir, Istanbul, Memories and the City . He describes how when his cousin opened the window, ' … it was usually to spit on the roof of a car struggling up to the tope of the alley, or throw a nail or a firecracker he had skilfully attached to a string. Even today, whenever I am at a high window that looks out onto the street, I can’t help wondering how it would feel to spit down on passersby'. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252362913-4WW4HLA4J892SB1F6WTN/untitled-114+ATodic+web.jpg Site-Specific (Copy) - Casula Arts Centre, Casula, Sydney, Australia 2017 The work Last Seen was selected by the curator Lizzy Marshall for the First Turbine Hall Commission at Casula Powerhouse, Casula, Sydney, Australia. The turbine hall at Casula Powerhouse Arts Centre in Sydney, Australia is the first space entered by the visitor. It is large, at first glance it is apparently empty, a space approximately 13.8 metres high by 12.7 metres wide and 26.5 metres deep. The ground floor of the hall is the site of multiple points of transition and multiple points of decision making, some of which relate directly to the architecture and some to the usual patterns or paths of passage in this architectural space resulting in an invisible crisscrossing pattern of use. As in most hospitals once you enter the doors you have to make a decision about where you are going and it maybe the last time you are seen. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620218857141-B709MVZU75EJLZ8WS72Q/DSC_3602.JPG Site-Specific (Copy) - Cementa 13, Kandos NSW Australia 2013 Cane, 2012 video was commissioned by Cementa as a site specific work in the Kandos Museum local history section. In the video, Cane, individuals tell their stories supported by a sound track of scales being practised on an out of tune piano. The visual imagery is a a sequence of the palms of the hands of those sharing their stories. Each palm is the site on which a form of school punishment known as the cuts was practised. The student being punished held out their hand palm up and was hit with a cane for a specified number of times depending on the required severity of punishment. The stories are of applied justice, accepted, rejected and/or still resented. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252716140-OK573CAIR97VESEHSUBW/price+taker+price+maker+detail+24.jpg Site-Specific (Copy) - Cementa 15, Kandos, NSW Australia 2015 The work Blood on Silk: Price Taker / Price Maker, 2015 was installed in the Dabee Nursery and Bric a Brac store on the eastern edge of town after I selected for the group exhibiotn, residency and engagement of Cementa 15. The arts writer and critic Gina Fairley wrote for Hub in 2015 an article titled ‘Cementa15 - a regional festival in pictures Twenty good reasons to put Cementa on your radar - a festival that happens every two years in regional NSW. She wrote in the article that ‘One of the more powerful works in Cementa15 was Fiona Davies’ work from her Blood on Silk series. Stacked in your typical tin shed at the Dabee Road Nursery, this installation combined a sound element of an auction of medical supplies - blood and plasma - what Davies said is not dissimilar to an agricultural auction.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614151400639-462X08EK670IUBYAAO5E/exterior+shot.jpg Site-Specific (Copy) - Das KloHäuschen and Villa Walberta, Munich, Germany 2016 Two exhibitions, four video nights on site, artist talk off site + residency’. Das KloHäuschen is the site of a former urinal adjacent to the main fruit and vegetable markets in the city of Munich in Germany. The wholesale food market in Munich is a site of economic activity where people are buying and selling, making deals and negotiating. So I found with KloHäuschen which is situated directly beside the Wholesale Market, a perfect place to speculate about a possible future process of selling blood, the auction. An economic process clearly showing the interaction between the buyers and the sellers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252875521-8M0KFTB8OCTOARFJJFJG/DSC_0060.JPG Site-Specific (Copy) - Lincoln College, Oxford University, UK 2009 The second work in this series was installed in the chapel of Lincoln College at the Oxford University UK in 2009, The details of the work are Memorial/Double Pump Laplace III, 2009, installation, photographs, sound and found objects. The other two site-specific works in this series can be found under School of Physics, University of Sydney and St Marks Church Aberdeen NSW Australia.. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626690581474-YG1HPL12P4LMPJKAS6S0/DSC_0165+%282%29.JPG Site-Specific (Copy) - School of Physics, University of Sydney, Foyer Museum 2010. The third work in the Memorial/ Double Pump Laplace , site-specific series was installed in the foyer of the Physics Building at the University of Sydney. The Building was designed by the architect Leslie Wilkinson in 1925. The other two site-specific works in this series can be found under St Marks Church Aberdeen NSW Australia and Lincoln College Oxford University UK. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631252961694-R6ZTXX1V5IEFXA6DNKOY/B+on+S+Price+taker+at+SINV+2016++%282%29.jpg Site-Specific (Copy) - Sculpture in the Vineyards, Wollombi, Australia 2017 Blood on Silk: Price Taker/Price Maker was reconfigured for this exhibition of site specific installations by the curator Lizzy Marshall. Sited in a heritage building, the Forge in the middle of the town of Wollombi, the country origins of the auctioneer were reinforced., the floor was rough and unlevel, the walls were partially complete and it looked like a fly by night operation. That this operation was auctioning blood and blood products with an expectation of hygiene and professionalism was neither here nor there but it was not what we were getting. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1631253157076-CELE2H5EQJOL5PZPUF0V/DSC_6243.jpg Site-Specific (Copy) - Tufts University, Boston, USA. - Silk Biomedical and Engineering Labs 2014 This was not a public exhibition – it could only be seen by those who worked in this particular set of scientific laboratories within the silk laboratory at Tufts University Boston where they ‘.. study the use of silk as an optical material for applications in biomedical engineering, photonics and nano photonics’ This installation intervened into a process necessary and common within science, that of moving and reorganising equipment from one space to another. In transition a stack of materials lay in the middle of the floor of the analytical laboratory This floor to ceiling installation of silk paper framed this pile of stuff refocusing on the ephemeral nature of the administrative process within the practice of the scientific method. On the last day everything had been moved on leaving a solitary Allen key within the space designated by the silk paper. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616486970628-SM5KH2M7IYCROZL1OCEP/Control+front+cover+.JPG Site-Specific (Copy) - University of Stockholm, Sweden June 14-17 2016 The curator, Dehlia Hannah selected the work Blood on Silk: Price Taker/Price Maker for the series of site specific installations. Hannah described this exhibition on her website as ‘The concept of experiment is governed by competing ideals of control and playful freedom. While the controlled experiment is widely regarded as the gold standard of the natural sciences, the aspiration to control, direct, test and constrain novel operations is also prominent in artistic, social and political practices of experimentation. The experimentalism of the arts, where to experiment connotes defiance of rigid norms and expectations and an openness to indeterminacy and even failure, likewise finds its counterpart in the exploratory dimension of scientific research. The dark legacies of authoritarian political experiments likewise stand in tension with the emancipatory promises of liberal ‘experiments in living.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620471100388-E2M1FCQYDE9TMD6TQF0K/Aberdeen+st+marks+entry+.jpg Site-Specific (Copy) - St Mark’s Anglican Church, Aberdeen, Australia 2006 The first of this series of works was installed in the Anglican Church in Aberdeen in NSW Australia. The details of the work are Memorial/Double Pump Laplace I, 2006, installation, textile, found objects, thread and buttons. One of major issues considered in this installation is the domestication of the daily rituals of intensive care including the taking blood samples. Marian Benjamin in the 2006 catalogue accompanying Memorial / Double Pump Laplace I wrote of that work. “Once you know your way around you no longer need to read the signs, they are just there, part of everyday life, habitual. And there is comfort in habit……… Death too is unremarkable. We all die. It is an experience of which we are all aware. And yet our experience of death, of loss, of grief is far from unremarkable.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617192898219-Q9U5EECBM5RXVFF16K49/DSC_2148.JPG Site-Specific (Copy) - The Kiosk Katoomba Australia 2017 Cementa Moments at the Kiosk coincided with Cementa-17 in Kandos NSW. A selection of works from the previous Cementa exhibitions were reshown in different types of locations within the Kiosk that resulted in the works being read in quite different ways. This work Blood on Silk: Price taker/price maker originally part of Cementa-15 held onto its sleazy, dodgy and creepy feel as the sale of blood and body parts moved in a poorly cleaned commercial kitchen. It felt as if the products offered for auction such as bags of human blood and plasma could be confused with quite ordinary kitchen supplies. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630238130650-0ULR8OGAHK9JD7KVC513/Painting+the+throat+8.jpg Site-Specific (Copy) - Woodford Academy, A National Trust Property, Woodford, Australia 2017 Painting the Throat, 2017, zinc,found objects, rice and other papers, iodine and ink, dimensions variable was installed in the group exhibition Explorers Narratives of Site in Contemporary Art Practices curated by Beata Geyer and Mahalya Middlemist in the National Trust of Australia property Woodford Academy, Woodford, NSW, Australia.. In the exhibition catalogue Jacqueline Millner, Associate Professor of Visual Arts at La Trobe University writes; ‘Fiona Davies reimagines and revitalises lost histories too, in this case bringing her sensitivity around the medicalisation of vulnerable people to the boy boarders once resident here. Davies has rendered the basins in the boys’ washroom into pathology slides: as we peer down, we catch a glimpse of disease and possible institutional responses to it, gaining a visceral sense of how these young bodies were once patrolled and controlled.’ https://www.fionadavies.com.au/performative-1 daily 0.75 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1624886605135-H5A3MEFYXAFF1U0PHBFX/unfix+.JPG Performative (Copy) - Unfix Festival of Performance, Glasgow UK. 2021 The Australian reading collective Before Bed gave two performances at the Unfix Festival. In one they read to the viewers in Glasgow before bed and in the other they were read to at their bedtime by some of the audience in Glasgow. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619255012549-QLL23ZF2E0X72SEBMCWX/DSC07583.JPG Performative (Copy) - Groundswell Conference, Fairmont Resort Hotel, Leura, Australia 2019 The card game Racing Patience ICU, was selected as one of the public programmes to be played at the Groundswell conference on death and dying at the Fairmont Resort in the Blue Mountains in 2019. The focus of the conference was arts and health or arts and death. The mission statement for the Groundswell project is for the organisation to ‘work with individuals, organisations and communities to improve how people in Australia die, care and grieve.’ This project Racing Patience ICU inhabits the transdisciplinary sites between science, technology and the arts. In this card game, the patient is comatose and has no agency, no ability to physically instruct the ICU team about their wishes. The characteristics of the end of life within an ICU are often driven by technology, and determined by what it is possible to attempt, not necessarily what is in the better interests of the patient. The process of dying is on occasion reported as excessively prolonged, painful and stressful for patients, families and medical staff. The ethics of the decisions made in this process can be questioned. There are two videos under more information - one is a participants experience of playing the game and the other illustrates how the game is played. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616211768472-8FU8WJVL8JPEC0A2NKCF/DSC07748.JPG Performative (Copy) - Performative Lectures, Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia 2019 A series of performative lectures were undertaken in the exhibition Cast a cold eye in life, in death: The Remake: Medicalised death in ICU. Click on the link on the image to watch a seven minute video of stage one of this performative lecture. This video is of the first stage in the lecture. It starts with an oral history given by an ICU nurses about one patient and her death. This oral history is quoted from 'David Crippen, End-of-Life Communication in the ICU: A Global Perspective (New York: Springer, 2008): 52.' Then I sit behind the audience to tell a fairy tale while they watch the simulation on the bedside medical monitor of a patient rupturing an abdominal aneurysm and bleeding out to death. the segment of oral history and the script of the fairy tale are on the next page. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630315588901-SWDPHLMUGD296IIFZMHT/0S6A4324+%282%29.jpg Performative (Copy) - Holding Space, The Kiosk, Katoomba, Australia 2018 Holding Space, a group exhibition was curated by Danica Knezevic as the third of three residencies plus exhibitions as part of the MAPBM Kiosk 3 x 6 project. The curator, Danica Knezevic selected this work Racing Patience ICU, 2017-2018, canvas, paint, printed matter found objects and performance, developed during the residency for this exhibition. In the catalogue Knezevic wrote that - Holding Space is an exhibition of performative experiences that consider the transference of the self through empathy. The performances and installations developed by the five artists relate to the themes of the body and care-giving, including participation and interaction, self-care, concern for the other and a relational space for accessibility and participation. https://www.fionadavies.com.au/curatorial-1 daily 0.75 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620793858389-HFGZAW76I5K0XHMX2EZ5/DSC04392+%282%29.JPG Curatorial (Copy) - Penrith Regional Gallery Home of the Lewers Bequest, Emu Plains Sydney Australia 2020 The exhibition conceived and implemented by MAPBM was titled Fabrik. The title of this exhibition, overlays the word fabric, the basis of all textile and clothing, with the word fabrik to emphasise the place of making, of manufacture rather than just the material being made. The five artists, Vivienne Dadour, Beata Geyer, Anne Graham, Ian Milliss and Ebony Secombe are members of Modern Art Projects Blue Mountains (MAPBM) which is based in the Blue Mountains and Western Sydney. MAPBM is a membership-based group which seeks to develop the practice and public presentation of contemporary art in this region and this context. The idea that the object is not independent of how it is made, how it is used and how it is disposed of is the basis of this exhibition. By looking at one element of our lives - how we buy and wear clothes and buy and use textiles in our homes - we can consider so many other aspects linked to us through these everyday activities. We can think about conditions of employment, how we use, reuse and dispose of the materials in our world, how our history informs our present and how change can be sought.. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630313361931-JMMNSYKKFPROTZUG50W4/DSC_5314+%282%29.JPG Curatorial (Copy) - Lyttleton Stores, Lawson, Australia 2020 Sewn 1 and 2 were MAPBM exhibitions, a Blue Mountains contemporary arts group that questions fundamental aspects of how we manufacture, use and dispose of clothing, footwear and textiles opened on the 4th April 2020. It then reopened in October 2020 after Covid-19 lockdown conditions had been eased. In the comfortable and familiar surroundings of the popular cooperative store and gallery the artists examined the materiality of sewn consumer goods and some of the questionable aspects of their manufacture and disposal, including the economic security and conditions of workers in these industries. SEWNUP also explored the feasibility of reusing or repurposing textiles, clothing and footwear – as well as the major ecological impacts of their disposal to landfill. The public was invited to examine the delight of these consumer goods, but also to become more aware of their downside. SEWNUP occupied the space between the beauty and appeal of textiles. clothing and footwear and the impacts of their production and disposal on the social and ecological fabric of society. This project was supported by the Blue Mountains City of the Arts Trust https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617856020531-MLOET3HSQ73T19JO4TRR/Death+3+invite.jpg Curatorial (Copy) - Parramatta Artists Studios, Parramatta, Sydney Australia 2013 Death 3, I don’t Think we’re in Kansas Anymore was the third and final exhibition at Parramatta Artist Studios in this series thinking about death. As Ann Finnegan wrote in her catalogue essay; ‘This, the final exhibition of a trilogy… startles with its premise of ‘relationships with a body, the body of the deceased. the very work relationship conjures closeness, intimacy, live negotiations entered into, engagements of live bodies among the land of the living. Indeed the work relationships enters into a certain ongoing-ness. Therefore it’s strange , even arresting to think of a relationship with the dead body. ‘A body was found.. we indicate a corpse. Consort with the dead, you breach a taboo. For what is the body, the body found dead but a kind of material remainder, in Derrida’s terms’ a leftover’, the rest, the spirit departed. A body, ‘ a body was found’. is something abject, tinged with horror, requiring disposal, separation. ’ https://www.fionadavies.com.au/shorthistory daily 0.75 2022-12-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b0fbbb0a-3007-4ed6-b63b-2b6e568a2ab0/short+history+detail+1+_n.jpg Short History - Make it stand out Detail shot of projection onto massive concrete block wall, installation and audience. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/32d70671-7a18-445a-85ff-ed60b6d7bb8a/IMG_5976+%28002%29.jpg Short History - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/755588cc-ee0c-419f-8d9b-d9b40a600572/short+history+3+.jpg Short History - Make it stand out Detail shot of projection onto massive concrete block wall, installation and audience. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/8382b04b-52ed-477e-b175-6766b57e3771/short+history+4+jpg.jpg Short History - Make it stand out Detail shot of projection onto massive concrete block wall, installation and audience. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7644b529-66fe-4e21-b55f-89fa55db6fbd/short+history+detail+2+.jpg Short History - Make it stand out Detail shot of projection onto massive concrete block wall, installation and audience. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/70ca3608-dbf4-4a98-8b08-f7b4781082c2/IMG_5919.jpg Short History - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/cocteau daily 0.75 2025-07-04 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/03324568-3d9d-40e4-9408-3d7a19cc37b0/Fiona+Davies+Horse+as+puppet++.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/a62d3166-1179-40d3-b179-6a767b0a8ac8/DSC_5768.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/94d1cb22-9172-4863-88d2-2d186bf451c6/DSC_5743.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/4aa3f64f-466f-47b2-a561-aeaf68575412/2.+Fiona+Davies+Is+that+Cocteau.s+Horse+detail+3.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/a14dc058-b6fa-45c6-a804-ef7168464f03/3.+Fiona+Davies+Is+that+Cocteau.s+Horse+performance+.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/fb94f118-fba0-4e05-8874-e96ca7e84f36/DSC08329.JPG https://www.fionadavies.com.au/carnivale daily 0.75 2024-05-12 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b3d609a7-8d75-4186-99e8-cb512cef372c/279823791_4569176839849264_2541564824271259283_n.jpg https://www.fionadavies.com.au/wearing daily 0.75 2025-07-21 https://www.fionadavies.com.au/blood-on-silk daily 0.75 2025-06-27 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617783547379-RB5Z3S3LWEMSS6LGXJ8U/Blood+on+Silk+1+2012+No+2.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/9b3ce4cf-3833-4f06-9a80-92304ea51b0d/Fiona+Davies++Blood+on+Silk+No++Exit.jpg 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https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1e2af7eb-2fde-4113-b8c4-164be8b92133/looking+down+.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/fdeacce1-2921-4ef2-a0ae-a710a3518a82/IMG_8376+b+.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/6ec3c97a-dede-421b-940b-ab0690f1c5f3/H2.jpg https://www.fionadavies.com.au/works daily 0.75 2025-11-28 https://www.fionadavies.com.au/works/beingmoved monthly 0.5 2021-05-10 https://www.fionadavies.com.au/works/kolkata monthly 0.5 2021-05-10 https://www.fionadavies.com.au/works/blood monthly 0.5 2021-04-23 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619163200210-CK3H9DI50KBJ5I1JQY01/Blood+on+Silk+Buy+Sell++%2828%29.JPG Works 2020-2016 - blood https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620614047272-354NSLB03SD3X97UPSKD/Blood+on+Silk+Buy+Sell++%2813%29.jpg Works 2020-2016 - blood https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620614668251-86V7SRUASA3A9J74C127/DSC_1581.JPG Works 2020-2016 - blood https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620614298515-O3VASNRCU0SZQRU7FOCS/DSC_1711.JPG Works 2020-2016 - blood https://www.fionadavies.com.au/works/wollombi monthly 0.5 2021-04-05 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617620342290-3UWKJ8FJLGHZJZC4G1WB/DSC00261.JPG Works 2020-2016 - wollombi/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617620294259-VWXCTTNID91PY5KJXMWA/DSC00153.JPG Works 2020-2016 - wollombi/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617620223233-NOFMAZSWBOG1CEDDJNTZ/DSC00145.JPG Works 2020-2016 - wollombi/ https://www.fionadavies.com.au/works/open monthly 0.5 2021-04-05 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617602926535-6FRHUMTZIDVYY7K5J9R3/IMG_5561.JPG Works 2020-2016 - open https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617603155155-N1KC0MVX9BOQ8KVF0ENL/IMG_5563.JPG Works 2020-2016 - open https://www.fionadavies.com.au/works/2019/wasb monthly 0.5 2021-04-01 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617274690053-Q0UN215OBT49VTTC2SSH/IMG_4682.JPG Works 2020-2016 - wasb - 2nd WASB Biennale WE RESPECT YOUR PRIVACY? Building A House of Cards was the group collaborative component in the Performative Lecture undertaken as part of the Second Worldwide Apartment and Studio Biennale, ‘We Respect Your Privacy’ on October 26th 2019. Building a house of cards is usually associated with making something that is unstable, able to be changed, damaged or destroyed by very slight changes in the environment. In this performance the structures were built using the cards of the game Racing Patience ICU where the data on the face of the cards is used to drive changes in an ICU patient’s blood pressure, oxygenation, heart rate and respiration. These can be more than minor or slight changes and can result in either death or the survival of the patient in ICU. However back to using these cards to build a house of cards, apparently (or as told by received wisdom) it is easier to build a house of cards using a pack that has been ‘broken in’. The Racing Patience ICU cards are slightly thicker than normal cards and while they have been well used, I don’t think they have got to the condition that would be called ‘broken in’. It was very clear during the group performative component of the lecture that it could be a frustrating activity. Interestingly that led fairly quickly to one participant abandoning the ‘rules’ of how to build a house of cards, redefining what a house meant and abandoning the scale of the unit size of the individual card either on its side or base. All in all a very interesting experience reflecting on the swinging changes experienced by an unstable patient in ICU and the importance of thinking outside expectations of behaviour. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617274816936-SYB7TXO9RHLMID907F5D/IMG_4693.JPG Works 2020-2016 - wasb https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617275249931-YQU3DNTH6AFUUFT39JC3/IMG_4690+%283%29.JPG Works 2020-2016 - wasb https://www.fionadavies.com.au/works/2016/prescriptions monthly 0.5 2021-04-01 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617271153217-NXG6JRB55PVEXL1J28Z4/Egidija+PRESCRIP_8.jpg Works 2020-2016 - prescriptions This book, Bleeding Out (Internally) consists of two parts, A and B. The sizes of the two parts are slightly different so it is not obvious that they belong together. Part A is a picture book intended to be touched, pages turned and held close by the reader. The images are representations of the sublime in the materiality of blood or bleeding out (internally). Part B is an instructional manual trying to make sense of a short, traumatic, catastrophic event such as uncontrollable internal bleeding. The patient and the witness experience this event simultaneously but not together. This book frames an episode of bleeding out (internally) as the narrative of a very short illness. The physical beauty of blood in part A is coupled with the educational, instructional manual in part B to examine the differing body mind responses. Through the artist book format, the physical action of turning the pages and touching the images, the viewer is encouraged to have an intimate, physical relationship with the material. This book is part of a larger artistic project called Blood on Silk looking at medicalised death, primarily in ICU. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617271222286-4Y7D4POY7EKOXHXHBO67/Bleeding+Out+Book+006+-+Copy.JPG Works 2020-2016 - prescriptions https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617600694560-D0L8N000NK7MAVAPY3DC/Davies_Bleeding-Out+4.jpg Works 2020-2016 - prescriptions https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617600731920-MRZQ7GEX6I2ZM634SW9N/Davies_-Bleeding-Out5.jpg Works 2020-2016 - prescriptions https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617600777509-JF7JV3QWZLHYVMDLKK1O/Davies-Bleeding-Out-6-.jpg Works 2020-2016 - prescriptions https://www.fionadavies.com.au/works/2017/cementa monthly 0.5 2021-03-31 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617192558725-02WPKCA5TPLN8SBXTDJH/DSC_2028.JPG Works 2020-2016 - cementa https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617192637537-0GZ0U6PT9SAUNBJ2FI2P/DSC_2030.JPG Works 2020-2016 - cementa https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617191899350-XXA6WG0G0R2Y23XFJSFW/DSC_2143.JPG Works 2020-2016 - cementa - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/works/colourrun monthly 0.5 2021-03-23 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616495438758-9PHZ29Y4W5AE8VEYV0UQ/wasb+2016+snipping+Capture.JPG Works 2020-2016 - colourrun - 1st Worldwide Apartment and Studio Biennale The first event by MAPBM for the 1stWASB was at The Slab in Hazelbrook. The Club Edition exhibition of thirty one artists was held on the 22nd October. The works covered performance, sound, experimental music, object and installation. The other event, Colour Run was held on the 6th November in a studio in Woodford and resulted in a more performative interaction between the works and between the studio and the works. https://wasbiennale.org/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616495030646-SUXJ1UVXQZA94L858KNP/DSC_0912.JPG Works 2020-2016 - colourrun https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616494860398-B70OH20SED1LL2W5CIGF/DSC_0974.JPG Works 2020-2016 - colourrun https://www.fionadavies.com.au/works/experiment monthly 0.5 2021-03-23 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616486155026-D3XR0HH3TI8T78YGA4GJ/foyer+shot.jpg Works 2020-2016 - experiment https://www.fionadavies.com.au/works/narrandera monthly 0.5 2021-03-22 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616397892131-HDK2GE41NQBX5SNESVNC/23unitsofbloodwallwork.jpg Works 2020-2016 - narrandera https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619254333274-M9GSHDUNFYFDVXUYRZCU/23+units+of+blood+floor+work+.JPG Works 2020-2016 - narrandera https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616406674864-QM0FB6VEU7NT4CHF17OM/IMG_E3559.JPG Works 2020-2016 - narrandera https://www.fionadavies.com.au/works/helloworld monthly 0.5 2021-05-10 https://www.fionadavies.com.au/works/lastseen monthly 0.5 2021-03-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616214514275-WZNQWUZ5GVO32VYS8PNT/Blood+on+Silk+Last+Seen+_1+web.jpg Works 2020-2016 - lastseen https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616214309125-942LL7E35AJAXQS0MTOS/Blood+on+Silk+Last+Seen+_+5+web+.jpg Works 2020-2016 - lastseen https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616214850562-AG4DSGMVSUPN0B6TKP72/Blood+on+Silk+Last+Seen+9+web+.jpg Works 2020-2016 - lastseen - This work refers and responds to the physical conditions of the space both in terms of its physical attributes and its usage. The turbine hall at Casula Powerhouse is the first space entered by the visitor. It is a large, apparently empty space. It could be described on the ground floor as an area of multiple points of transition and multiple points of decision making, some of which relate directly to the architecture and some to the usual patterns or paths of passage in this architectural space that result in an invisible crisscrossing pattern at this level.. The most overt point of transition is at the point of entry from the outside to inside followed by less obvious points of transition over the entire ground floor level. The visitor traffic is forced to the perimeters at the mezzanine level with the upper level tantalisingly out of reach to the museum visitor. All of the viewers in this hall are aware of the scale of the space. The central theoretical concern of my project Blood on Silk is medicalised death in ICU The points of transition in this event or process start from the same place of coming through the entry doors either through emergency or the main entry doors. Layers of points of transition are then built up through , the controls of the visitor entry into ICU, going through the swing doors into the operating theatres and even when the flowers beside the bed start to die. In the turbine hall points of transition will be overlaid onto the existing complexity of the floor level patternings of use. The videos projected onto the silk paper will inscribe additional evidence of points of transitions in others lives. These figures seen from the back will be partially recognised and partially anonymous. Lying on your back with the hospital curtains drawn, you look up at the ceiling. You notice the curved corners of the curtain track, the texture and opacity of the curtains made of silk paper and the imperfection of the visual and aural privacy offered. In the installation Blood on Silk: Last seen the physicality of hospital spaces, both those central to the process of treatment and those liminal spaces, such as the half-lit corridors at midnight, are overlaid with the emotional landscape of the users of those spaces. The beauty of the silk paper curtains butts up against the forgotten and brutal aesthetics of the ceiling. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616214476100-V3366GP52UBIBIGZXSIB/Blood+on+Silk+Last+Seen+_+8web+.jpg Works 2020-2016 - lastseen https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616214736775-LR3GJO7XQZSZV5U6HYCG/Blood+on+Silk+Last+Seen+_4+web+.jpg Works 2020-2016 - lastseen https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616214770750-DV8A6X4APNBV2JEHTMP4/Blood+on+Silk+Last+Seen+_10+web+.jpg Works 2020-2016 - lastseen https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617268598248-DZ59C14CLTYEGOOKGYL8/ASh+Tray+silver+cross+01+cropped+for+web+.jpg Works 2020-2016 - lastseen https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f42705b1-7f29-43e7-bf68-b9e1385f0f01/IMG_5952.jpg Works 2020-2016 - lastseen - While the Last Seen installation was up the Casula Powerhouse Arts Centre hosted The Space of the Biomedical Body Symposium which was presented by the New Materialism in Contemporary Art Research Cluster from the Sydney College of the Arts at the University of Sydney. The presenters were Fiona Davies, John A Douglas, Danica Knezevic, Dr Ryan Jefferies, Lizzy Marshall and Helen Pynor. The symposium investigated the intersections of contemporary art and medical science within and around the medical body. The Curator Lizzy Marshall wrote in the symposium handout that ‘Blood on Silk: Last Seen is a powerful agent for cross disciplinary discourse incorporating temporality, liminality, new materiality, biomedical concerns, intersections of the public and the private, the cultural to the emotional landscape. More poignant is the capactiry for Davies’ work to create a transaction between the artwork and active audience engagement creating lasting resonannce through internal dialogues. https://www.fionadavies.com.au/works/das monthly 0.5 2021-03-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614151400639-462X08EK670IUBYAAO5E/exterior+shot.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1615932162129-P37LQ82M8OL57B2A4KSV/invite+to+evetns+in+Munich+%29.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614162966785-RKHJBO18MNQGC9NXIGBZ/DSC_0387.JPG Works 2020-2016 - /works/das - First of two exhibitions opening on the 20th May Blood on Silk: Price Taker/Price Maker at Das KloHäuschen. https://das-klohaeuschen.de/proj/160520_fiona1/de/aktuell_info.html https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617616918403-M5VDEAGX6FD9F18PU9V4/Price+taker+price+maker+6.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617617078739-44PTSJU94FGH2G6X4YG1/price+taker+price+maker+.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614163146381-SMX9VEYDK157M0WT9P5V/first+video+night+01.jpg Works 2020-2016 - /works/das - First Video Night - 17th May The first video night during the first exhibition was a work examining the site of production of blood, the inside of the arm. In these videos projected into the urinal cubicle the blood producer gradually turns this normally private part of the body to the gaze of the viewer. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614163357582-8895FB0JNROYQNT3DD4F/first+video+night+08.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617606765931-RNK6QFUB5OGT3MSOEXQT/kh76_front.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617606794128-JBTV6Y7XNNXVHELMWP29/kh76_back.jpg Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617617157699-NP2VUUEV27UQURL1V9RH/DSC_0003.JPG Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617617305926-D8VIMR81MMHYETJSG4OY/DSC_0021.JPG Works 2020-2016 - /works/das https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617617419049-UGNRDA8LS1K448W8EHSV/DSC_0077.JPG Works 2020-2016 - /works/das https://www.fionadavies.com.au/works/2018 monthly 0.5 2021-01-04 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619258118628-ERWOOJ9BCAMCB5SQ0OMW/Medical+Monitor+Blanket++%282%29.jpg Works 2020-2016 - 2018 - Sydney College of the Arts Gallery and the Verge Gallery, University of Sydney, Sydney, Australia My solo installation When they were last seen was installed at the SCA gallery at the University of Sydney, in the exhibition Being towards Death curated by Tian Kang and Yunyan Tang as part of the Masters of Curating degree at the University of Sydney. At the Verge Gallery my work Racing Patience ICU was installed as part of the group exhibition ‘In Translation’. In the catalogue for the exhibition Being towards Death the two curators wrote - ‘The German philosopher Martin Heidegger contributed a distinct perspective - ‘being towards death’ - for considering this question. Every second we are aging, dying and heading towards an inescapable end-result: clinical death. Instead of the moment of physical death, the much more authentic death is a continuous process of life countdowns, so it can also be said that the essence of life is death. In consequence the boundary between life and death is blurred. ‘ The other artists in the group show at the Verge Gallery were Merryn Hull, Nerine Martini, Bernadette Smith and Eila Vinwyn. Details of my work at Verge can be seen in the entry for the Kiosk in Katoomba also in 2018. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600229303765-1S5HBBQWIHE2N0E3ZJ5X/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Works 2020-2016 - 2018 - Newcastle Art Gallery, Newcastle, Australia. Three of my works were selected from the collection of the Maitland Regional Gallery for the group show Hunter Red: Corpus at the Newcastle Art Gallery. The three works were: Memorial / Time of Death No. 3, 2008, print on paper, 90 x 110 (h) cm Memorial/Time of Death, video, 3 minutes 30 seconds, 2008, and Blood on Silk: Blood Alcohol Content, 2014, print on paper 30 x 20(h) cm The Newcastle Art Gallery website outlines that for this exhibition ‘Corpus is defined in several ways - it can be a collection of written texts, the entire works of a particular author or a body of writing on a particular subject. It is also an anatomical reference to a main body or mass structure. and This exhibition interrogates the body across platforms such as painting, photography, sculpture, works on paper and video work. All are unified by themes of the body represented in different and arresting ways - as controlled, out of control, stolen, the abject or ‘other’.’ Other artists selected in this exhibition include Vernon Ah Kee, Selena Archibald, Donna Biles Fernando, Anne Ferran, Francisco Goya, Bill Henson, Emily Kame Kngwarreye, Dani Marti, NELL, Prince of Wales (Mitbul), Julie Rrap, Judy Watson, Juz Kitson, Selena Archibald, Patricia Piccinini, and Braddon Snape. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619255012549-QLL23ZF2E0X72SEBMCWX/DSC07583.JPG Works 2020-2016 - 2018 - MAPBM 3 x 6 at The Kiosk, Katoomba, Australia Holding Space, a group exhibition was curated by Danica Knezevic as the third of three residencies plus exhibitions as part of the MAPBM Kiosk 3 x 6 project. The curator, Danica Knezevic selected this work Racing Patience ICU, 2017-2018, canvas, paint, printed matter found objects and performance, developed during the residency for this exhibition. In the catalogue Knezevic wrote that - Holding Space is an exhibition of performative experiences that consider the transference of the self through empathy. The performances and installations developed by the five artists relate to the themes of the body and care-giving, including participation and interaction, self-care, concern for the other and a relational space for accessibility and participation. ‘In Fiona Davies installation and performance, Racing Patience ICU the participant of asked to sit in a carnival tent to play a game of life or death. Just as a carnival fortune teller sits across and tells the sitter their future in the hope for affirmation, Davies challenges her opponents to confront the unknown. ‘ The game of life and death referred to by Knezevic was developed from the older game Racing Patience. In that game the relatively sedate game of Patience is played competitively without any concept of taking turns and can become physical and rough and there is no sense of fair play. It is not a social game. It is extremely competitive as each player tries to get their card onto the stacks in the centre. It requires an ability to focus on many things which are changing all at the same time and not necessarily in a good way. In Racing Patience ICU there are just two players. One draws a central card that describes the patient stats when entering ICU. Starting at the same time one player represents the ICU team trying to bring the patient back into the normal or survivable ranges for blood pressure, heart rate, blood oxygenation and rate of respiration. The other player, death is attempting to take the patient out of those survivable range. The cards have plus or minus numbers that can be attributed to one of the four sets of data. Both players have to track the four parameters, keep a rough tally in their head of the changes in the patient stats as each card is added to one of the four stacks. The players will rotate through their own cards in groups of three able to play the top card only. The card that may save the situation or cause the death of the patient may be just out of reach and there is no time to consider the ethics of particular interventions that drive swinging changes in the patient’s statistical signs. At the end of a few minutes the game is called and a countback determines who has won. The other artists selected for this exhibition were Frank Davey, Tom Isaacs, Danica Knezevic, Tess Rapa and Ebony Secombe. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609758941818-WBVXXSRUVDTQEFS6XMGT/Once+upon+a+time++detail+4.jpg Works 2020-2016 - 2018 - Braemar Gallery, Springwood, Australia My work Once Upon a Time Long Ago and Far Away There were Twenty Three Units of Blood, was selected for the Colour Run exhibition held at Braemar Gallery in Springwood, Australia by the curator Beata Geyer. In this exhibition artists were asked to examine the relationship between colour, form and space, with a focus on colour as a construct within a framework of broader historical and philosophical perspectives. This work is one of the many twenty-three units of blood works I have made over the years. It originates in an experience where I think I was told by the nurse on the early morning shift that my father had received twenty three units of blood in one shift and that volume of blood had then bled out into his stomach cavity. The other artists selected for this exhibition were Louise Blyton, Anne Graham, Tom Loveday, Margaret Roberts, Sarah Breen Lovett, Naomi Oliver and Beata Geyer. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619254205237-62Y863UJO0PP2Y1VQFP5/silver+cross+5+%282%29.jpg Works 2020-2016 - 2018 - Narrandera Arts Centre, Narrandera, Australia Artist/curator Ebony Secombe selected large groups of works for the exhibition Near & Far: Yearning / Community / Connection. My work is titled Once upon a time, far away and long ago there were twenty three units of blood taken from a drawer.’ The work consists of twenty-three squat silver crosses installed across a large number of filing cabinet drawers, locker doors, metal boxes and dismantled shelving. The squat silver crosses mimic the red cross symbol that identifies the emblem associated with the supply of blood within Australia. The red colouration has been removed to leave only a decolourised metallic shape. Decolourising is a chemical process used to remove unwanted staining material when preparing microscope slides or to remove coloured impurities from a material such as dye waste in water. Decolourising the red cross mark shifts the focus to the more formal aspects of the symbol without the associations of the colour red. However, it is the red colour of blood that signifies its usefulness. The depth and shade of red shows the amount of haemoglobin per litre and/or the percentage of oxygenated haemoglobin in the blood. So, the process of decolourising strips away this signifier of purpose and effectiveness in the material of blood. Other artists selected included Linda Brescia, Hedar Abbas Abadi and Shivanjani Lal. https://www.fionadavies.com.au/works/twentythree monthly 0.5 2021-03-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609760219871-DEJRN9IQEFBH27B6UNDN/DSC_3969.JPG Works 2020-2016 - /works/twentythree https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616396979720-I6UIVF5QZTS64FG9L75L/colour+run+plus+audience+.jpg Works 2020-2016 - /works/twentythree https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616397043875-226RIGV0JTRWQRTIVCWH/once+upon+a+time+.jpg Works 2020-2016 - /works/twentythree https://www.fionadavies.com.au/works/beingtowards monthly 0.5 2021-01-04 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609758396188-TK5Z6OR9B3D5XP1CUVBQ/DSC04286.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609757943342-P2FJELAPSLTXGOAFWCMV/DSC_4124+%282%29.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609758338499-PLRXW44KB5ZY87XUSM4I/DSC04373.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609758530756-WIP6W0RGMWAGM3CZT40T/DSC04363.JPG https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609758475731-PVCLQ6T4S35MUPBI9MBP/DSC04367.JPG https://www.fionadavies.com.au/works/2016 monthly 0.5 2021-01-02 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604111818193-FWCN4IPGU0UECGICEW75/Das+Klos+invite+Fiona+Davies+.JPG Works 2020-2016 - 2016 - A partnership between Das KloHäuschen and Villa Walberta, Munich, Germany: Two Exhibitions, Four Video Nights on site, Artist Talk off site + Residency Das KloHäuschen is the site of a former urinal adjacent to the main fruit and vegetable markets in the city of Munich in Germany. The wholesale food market in Munich is a site of economic activity where people are buying and selling, making deals and negotiating. So I found with KloHäuschen which is situated directly beside the Wholesale Market, a perfect place to speculate about a possible future process of selling blood, the auction. An economic process clearly showing the interaction between the buyers and the sellers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604116664706-TICGP7GO5QIRHE3K7DH9/Bleeding-Out-Book-006---Cop.jpg Works 2020-2016 - 2016 - Prescriptions at the Beaney House of Art and Knowledge, Canterbury, UK My artist book/instructional manual, Blood on Silk : Bleeding Out (Internally) The Book was selected for the group exhibition Prescriptions at The Beaney House of Art and Knowledge, Canterbury, UK. It was jointly selected by Egidija Čiricaitė and Dr. Stella Bolaki/University of Kent. The exhibition consisted of over seventy artists’ book on wellbeing and medicine with the featured artist being Martha A. Hall from the USA. Stella Bolaki wrote in the catalogue essay ‘ A physician often interacts with the patient’s chart as a textual object (for example before in initial encounter with the patient) but this is to gain clinical knowledge. The demands made by the books of this catalogue on health professionals are of a different nature. Touch constitutes a central element when reading these books. Physical intimacy can be threatening when the object one comes into contact with explores trauma or serious illness. …. Touch not only challenges biomedical clinical gaze but also becomes associated with an exposure to the other’s alterity or difference.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1608869271640-M41QE7QAHXA2HQ8S8RVR/Blood+on+Silk+Bleeding+Out_Fiona+Davies+%2811%29.jpg Works 2020-2016 - 2016 - Airspace Marrickville, Sydney Australia Her Moving Presence was curated by Yvette Hamilton and Danica Knezevic. They selected the work Blood on Silk/Bleeding Out metal, glass, paint, ink, projection and found objects, 135 x 78 x 96(h)cm. for the exhibition of female artists working with moving image. The curators focused on the ideas of implied and actual presence. Art Academic Jacqueline Millner questions in the catalogue essay - ‘ What happens when the moving image renders the the invisible visible, and the significance of this to scientific scopic regimes informs the work of Ella Condon and Fiona Davies ….Davies Blood on Silk Bleeding Out scrutinises the medical gaze - from the microscope to the total surveillance of intensive care - and its infiltration of our embodied experience.” The other artists in this group exhibition were Ella Condon, Kath Fries, Sylvia Griffin, Melissa Howe, Yvette Hamilton, Danica Knezevic, Vivienne Linsley, Sarah Breen Lovett, Sara Morawetz, Katy B Plummer, Tamara Voninski https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616486970628-SM5KH2M7IYCROZL1OCEP/Control+front+cover+.JPG Works 2020-2016 - 2016 - SLSA-Eu conference Control University of Stockholm, Sweden June 14-17 2016 The curator, Dehlia Hannah selected the work Blood on Silk: Price Taker/Price Maker for the series of site specific installations Hannah described this exhibition on her website as ‘The concept of experiment is governed by competing ideals of control and playful freedom. While the controlled experiment is widely regarded as the gold standard of the natural sciences, the aspiration to control, direct, test and constrain novel operations is also prominent in artistic, social and political practices of experimentation. The experimentalism of the arts, where to experiment connotes defiance of rigid norms and expectations and an openness to indeterminacy and even failure, likewise finds its counterpart in the exploratory dimension of scientific research. The dark legacies of authoritarian political experiments likewise stand in tension with the emancipatory promises of liberal ‘experiments in living.’ Control-Experiment is an experiment with the aesthetic forms and media through which to think through Control—the theme of this year’s meeting of the European Society for Science, Literature and the Arts. In order that we might deal playfully with Control—test and display its logics—the exhibition mobilizes the dialectic of control at the core of the concept of experiment by embedding installations, films and performances within the physical and temporal bounds of the conference. In doing so, it also functions as a demonstration experiment and an argument for the importance of engaging a multiplicity of material practices in thinking through Control in the domains of Aesthetics, Animal, Bacteria, Borders, Climate, Desire, Life, Security and War. The exhibition includes works by Nils Agdler and Timo Menke, Naja Ankarfeldt, Yusef Audeh, Max Colson, Fiona Davies, Enrique Enriquez, Hanna Husberg, Ryan Jeffery and Boaz Levin, Anna Kedziora, Fröydi Laszlo, Fay Stevens and Robert Good, Steve Rowell and Josh Wodak. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617619309161-I1PUDP7XTVFVVMGGC3MS/B+on+S+Price+taker+at+SINV+2016++%282%29.jpg Works 2020-2016 - 2016 - Sculpture in the Vineyards, Wollombi, Australia Blood on Silk: Price Taker/Price Maker was reconfigured for this exhibition of site specific installations by the curator Lizzy Marshall. Sited in a heritage building, the Forge in the middle of the town of Wollombi, the country origins of the auctioneer were reinforced., the floor was rough and unlevel, the walls were partially complete and it looked like a fly by night operation. That this operation was auctioning blood and blood products with an expectation of hygiene and professionalism was neither here no there but it was not what we were getting. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617602367888-WW75XG2R8ZWCHCO9XLA2/IMG_5563.JPG Works 2020-2016 - 2016 - Peacock Gallery and Auburn Arts Studio and Auburn Botanic Gardens, Sydney, Australia. The Exhibition Open Field was curated by Kon Gouriotis. he selected a small work from my Buttoned Up series to be the starting point for the creation of a black perspex replica Kon Gouriotis write in his catalogue essay that ‘ Open Field is project in two parts, to be shown simultaneously as an exhibition and a site specific installation. One component is presented in the Peacock Galleries adjacent to the entrance of the Auburn Botanic Gardens, the other within the gardens. The galleries were formerly a kiosk and the Gardens rescued the Duck River so the exhibition is a mediation on, and a metaphor for, change and transformation. The intention is to expand Black’s Utopian vision by placing works by 15 artists from Western Sydney in the Galleries and an enlarged three dimensional geometric replica of each work, made from black transparent acrylic (perspex) in 10 different locations within the gardens. The artist involved are Eric Aarons, Idil Abdullah, Khadim Ali, Ray Beattie, Michael Butler, Elisabeth Cummings, Fiona Davies, Contessa El Kazzi, Philips George, Stephen Little, Siobhan O’Gorman, David Sudmalis, Khaled Sabsabi, Paul Saint and Guan Wei.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616493756625-2XEMLCXIWFFY6ILZBU2Y/DSC_0973.JPG Works 2020-2016 - 2016 - 1st Worldwide Apartment and Studio Biennale In 2016 artist Anna Khodorkovskaya and curator and art critic Anna Buyvid founded Worldwide Apartment and Studio Biennale – the project developing a distinct approach to alternative exhibition solutions and independent artistic initiatives on exposing current art. Though there are more than 150 art biennials in the world, we thought we needed another one. During the 1st WAS Biennale, more than 70 art shows and events took place in artist studios, apartment galleries and private residences all over the world at the same time. The programme showed artistic and curatorial practice with somewhat different backgrounds, approaches and goals. But what united all those projects was the search for distinct forms of representation. I was involved in two exhibitions as part of this Biennale - The Slab Club Edition and Colour Run. https://www.fionadavies.com.au/works/2017 monthly 0.5 2021-01-02 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616213913408-TIHPVQERG15V525YROXQ/Blood+on+Silk+Last+Seen+_5+web+.jpg Works 2020-2016 - 2017 - Casula Arts Centre, Sydney, Australia My work Last Seen, was curated by Lizzy Marshall for the First Turbine Hall Commission at Casula Powerhouse, Casula, Sydney, Australia. The turbine hall at Casula Powerhouse Arts Centre in Sydney, Australia is the first space entered by the visitor. It is large, at first glance it is apparently empty, a space approximately 13.8 metres high by 12.7 metres wide and 26.5 metres deep. The ground floor of the hall is the site of multiple points of transition and multiple points of decision making, some of which relate directly to the architecture and some to the usual patterns or paths of passage in this architectural space resulting in an invisible crisscrossing pattern of use. Overlaid onto this patterning is the work Blood on Silk: Last Seen. The over arching theoretical concern of the project Blood on Silk is medicalised death in ICU. That is death that is constructed as a medical problem. The points of transition in the process of medicalised death start at the same place - coming through the entry doors either through emergency or as with Casula and many hospitals, the main front door. Layers of points of transition are then built up through the systems, design and architecture of the hospital - the controls of the visitor entry into ICU, the swing doors into the operating theatres and walking the empty shadowy corridors at night. In this installation, large sheets of silk paper hang from the ceiling forming five rooms or partially curtained bed spaces. The ceiling is not lit so the upper reaches of the silk lie in darkness. On to these curtains of silk at just above head height, fragments of images of individuals passing through points of transition in a hospital are projected. The figures, seen from the back, are partially recognisable and partially anonymous. In the mezzanine gallery the hard lighting of fluorescent tubing starkly refers to the liminal space of the smoking area just outside the hospital buildings. All hospitals in NSW are smoke free work places including all outside areas. In a recent talk at the Power Institute by the art critic Sebastian Smee, he talked about the book ‘In Praise of Shadows’ by Jun’ichirō Tanizaki. This book has been described as a haphazard exposition of the aesthetics of beauty and where in the dark of the shadow only then is it possible to experience a certain type of seeing. ‘The darkness seemed to fall from the ceiling, lofty, intense, monolithic, the fragile light .. unable to pierce its thickness .. . . the visible darkness. [1] The light of the floor and the darkness of the high ceiling illuminated only by the intermittent light of the projections offset by the liminal space in the mezzanine gallery speak to the clarity of the way of seeing in the shadow, this way of seeing in the liminal space of the carer in hospital . 1. Jun’ichirō Tanizaki [1] In Praise Of Shadows, Leete’s Island Books, 1977. P 34-35 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600566745795-MTHZWR820ZV2DDFDLUNY/Painting+the+throat+7.jpg Works 2020-2016 - 2017 - MAPBM in partnership with the National Trust of Australia, Woodford Academy, Woodford, Australia Painting the Throat, 2017, zinc,found objects, rice and other papers, iodine and ink, dimensions variable was installed in the group exhibition Explorers Narratives of Site in Contemporary Art Practices curated by Beata Geyer and Mahalya Middlemist in the National Trust of Australia property Woodford Academy, Woodford, NSW, Australia.. In the exhibition catalogue Jacqueline Millner, Associate Professor of Visual Arts at La Trobe University writes; ‘Fiona Davies reimagines and revitalises lost histories too, in this case bringing her sensitivity around the medicalisation of vulnerable people to the boy boarders once resident here. Davies has rendered the basins in the boys’ washroom into pathology slides: as we peer down, we catch a glimpse of disease and possible institutional responses to it, gaining a visceral sense of how these young bodies were once patrolled and controlled.’ Other artists selected for the exhibition were Sarah Breen Lovett, Vicky Browne, Vivienne Dadour, Dark Room ( Sean O’Keeffe and Carolyn Eccles) Daniel Kojta, Beata Geyer, Anne Graham, Melissa Grahovac, Mahalya Middlemist, Ian Milliss, Michael Petchkovsky and Emma Rooney, Jacqueline Spedding and Miriam Williamson. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600575572601-BQ0WL3R0O6E6POFNF7N5/Blood%2BCatalogue%2BCover%2B.jpg Works 2020-2016 - 2017 - Science Gallery, University of Melbourne, Melbourne Australia The installation work Blood on Silk: Buy/Sell 2017 was selected for the first exhibition to open Melbourne’s new Science Gallery, Blood Attract and Repel. This work focuses on the materiality of blood. It considers the daily ritual within ICU of sampling blood for external testing. If the results are unsatisfactory, adjustments are made to the medication or treatment, a little bit of time is allowed to pass and then the blood is resampled for retesting. This process continues. Such a focus on testing also applies to the supply of blood and blood products for transfusion. Blood: Attract and Repel was the inaugural popup exhibition of the Melbourne Science Gallery. It was installed in the Frank Tate Building in the University of Melbourne Parkville campus. originally built in 1939-1940 the building had many art deco elements both in the design of its exterior and interiors. The exhibition included historical medical artefacts from the Medical History Museum and the Harry Brookes Allen Museum of Anatomy and Patholgy at the University of Melbourne with contemporary artworks by Ollie Cotsaftis and Sarah McArthur (Aus) Basse Stittgen ( NL/DE), Hotham Street Ladies ( Aus/UK/DE), Bea Haines(UK) John O’Shea (IE) Daniel Elborne (Aus) Tobias Klein, Victor Leung and Jane Prophet (CN/USA/UK) Penny Byrne (Aus) Jipil Jung (KR) Izabela Zolcinska (PL/NO) John McGhee (Aus) Jordan Eagles (USA) Bai Yiluo (CN) Cecilia Jonsson (SE/NO) Art Oriente Objet ( Marion Laval-Jeantet & Benoit Mangin) (FR) Nick Thieberger and Rachel Nordlinger (Aus) Judy Watson (Aus) Raphael Lozano-Hemmer (MX/CA) https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604132845449-X5GDGJYSQUD86LHDPU43/Blood+on+Silk+Import+Export+phot+credit+Racheal+Samuels+4+web+jpg.jpg Works 2020-2016 - 2017 - National Trust of Australia, Old Government House, Parramatta, Australia Two works by Fiona Davies, Blood on Silk: Buy/Sell, 2017, and Blood on Silk Import/Export 2017, were selected for the exhibition, Governance by the curator Lizzy Marshall. In the final sentences of her catalog essay, Marshall reflected on governance that ‘But neither is governance just. Perhaps it is best understood as a strategy for implementing order’ Marshall earlier in the essay had commented that ‘Fiona Davies installations formulate a diptych within the mirrored offices of The Butler’s Pantry and the Governor’s Office. Divided by a stairwell, the traffic flow further unites the flow of power between them. Davies site-responsive installations are a continuation of her seminal Blood on Silk project. Much like Syed’s investigations into the pervasive nature of currency, Davies centres her work on the commerce of blood products and their regulated distribution – a far cry from the Colonial commerce that would have occurred within both offices, but a commerce that would have harnessed much currency were it around in Colonial times.’ The other artists in the exhibition are Marion Abboud, Liam Benson, Linda Brescia, Kath Fries, Nadia Odlum, Naomi Oliver, Abdullah M.I. Syed, Salote Tawale and Hannah Toohey https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604128261926-NBK1CUGNM6R3EJ2OXPL8/DSC_5294.jpg Works 2020-2016 - 2017 - Sydney College of the Arts Gallery, Sydney Australia This work Blood on Silk: Last Seen at SCA, was selected for a group exhibition, ephemera at the Sydney College of the Arts Gallery, University of Sydney by the curators Clara Cheong, Pamela Hale, Jeanie Ho, Sharon Hong, Elsa Kwok and Alana Leslie. The curatorial theme is outlined in the catalogue essay as follows; ‘ Ephemera presents a distinct thematic experience that is inherently sensory, presenting a consideration of the ways in which art can either directly engage with a multitude of sensory engagemetns, or disrupt the potential to do so. Through engagement with the senses, particularly touch and sound, ephemera provokes sensory experiences. This intentionally goes beoynd the expected visually focused works to be found within the context of an art exhibition. While several works take a directed approach to sensation, others take a less literal approach, engaging viewers through more meditative and almost subliminal interactions. The works and artists that are brought together within ephemera gently provoke musings on the way in which we personally, internally and sensationally experience the world that surrounds us. All of ephemera’s incorporated works are incredibly affective, however they communicate this with subtlety. They do not present an overt depiction of the sentiments they intent to covey, but rather influence the viewer on an emotive or sensational level in a way that may not be instantly perceptible, becoming impactful through a more sustained engagement with the works in situ.’ . The other artists in the exhibition were Clache Raong, Ema George, Jeanie Ho and Harry Seeley. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1603846742012-1CPLIG06WJYD8TJ806VU/Blood+FOuntain+Cropped+detail+F.jpg Works 2020-2016 - 2017 - Stack Gallery, Potts Point, Sydney Australia In Overlook a two person exhibition with Anita Bacic at Stacks Gallery in Potts Point, Sydney, Australia, two works were shown - Blood on Silk: Blood Fountain and Blood on Silk: Bleeding Out Both works focus on blood and blood products in transit, or in motion. The movements and transitions of blood and blood products through the human body, from one body to another, from one part of one body to another part, and from within the body to permanently outside the body are located in a range of economic, technological, and social contexts. The movements of body parts from one body to another is always assisted, can occur through both legal and illegal channels, and can involve both live and dead producers. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1601468111535-NIZ3OCALYOCQXOXVS9PP/as+installed+bio+society+mt+Gambier+jpg.jpg Works 2020-2016 - 2017 - Riddoch Gallery Mt Gambier, South Australia, Australia. These five prints Blood on Silk: Commercial Quality No.’s 1, 2, 4, 8 and 10, 2017 photographic print 120 x 80(w)cm, were selected for a group exhibition, Rise of the Bio Society Riddoch Gallery Mt Gambier, S.A. Australia curated by Melentie Pandilovski. These five works have since been acquired by the collection of the Mount Gambier Art Gallery, S.A. Australia The other artists in the exhibition were Eduardo Kac, Niki Sperou, Critical Art Ensemble, Helen Pynor, Rafael Lozano-Hemmer, Paul Thomas, Trish Adams, Guy Ben-Ary & Boryana Rossa, Gary Cass, Andre Brodyk, Svenja Kratz, and Michalis Pichler. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617191899350-XXA6WG0G0R2Y23XFJSFW/DSC_2143.JPG Works 2020-2016 - 2017 - The Kiosk, Katoomba. Australia Cementa Moments at the Kiosk coincided with Cementa-17 in Kandos NSW. A selection of works from the previous Cementa exhibitions were reshown in different types of locations within the Kiosk that resulted in the works being read in quite different ways. This work Blood on Silk: Price taker/price maker originally part of Cementa-15 held onto its sleazy, dodgy and creepy feel as the sale of blood and body parts moved in a poorly cleaned commercial kitchen. It felt as if the products offered for auction such as bags of human blood and plasma could be confused with quite ordinary kitchen supplies. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600992505738-ME10OU7WQ6ARCSZ35AD2/cudos Works 2020-2016 - 2017 - Cudos Legacy, an ARC Centre of Excellence, University of Sydney, Australia This site specific work Last Seen; Cudos was commissioned for the legacy celebrations for the ten plus year project Cudos, an ARC Centre of Excellence at the School of Physics, University of Sydney, Australia. The event was held in the Sydney NanoSciecne Hub at the University of Sydney. The vision for the Cudos project was to be the world leader in research on-chip photonics of all-optical signal processing. It brought together seven Australian universities, The University of Sydney, Macquarie University, the University of Technology Sydney, Australian National University, RMIT University, Monash University and Swinbourne University. https://www.fionadavies.com.au/works/2019 monthly 0.5 2021-01-02 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614292178391-WRJEN2BDGY480H9LQXPJ/buy+sell+in+context+3.jpg Works 2020-2016 - 2019 - Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia. The solo exhibition Cast a cold eye on life, on death: The Remake: Medicalised Death in ICU, was shown in three of the gallery spaces at the Kirkbride campus of the SCA Gallery, University of Sydney, Australia from the 10-18th May 2019 The exhibition consisted of nine major works installed as a sequence activated by a performative lecture. Images and videos of the lecture and of elements of the works can be seen by following the link on the image to the left. The works were Medical Monitor Work, 2017 video 7’23”. Racing Patience ICU 2018, canvas, paint, found objects and printed matter, dimensions variable Blood on Silk: Last Seen (partial) 2017, reconfigured 2019 metal, paint, vinyl print and found objects, dimensions variable Blood on Silk: Price Taker Price Maker 2015 reconfigured 2019 Sound, printed materials and found objects, dimensions variable Blood on Silk: Last Seen (partial) 2017, reconfigured 2019, silk paper, dimensions variable. Blood on Silk: Blood Farming/The Producers, 2018, plastic, metal, paint, ink, projection and found objects, 135 x 78 x 96(h)cm Blood on Silk: Bleeding Out, 2016, metal, glass, paint, ink, projection and found objects, 135 x 78 x 96(h)cm. Blood on Silk: Buy/Sell, 2017, metal, glass, paint, ink, projection and found objects,135 x 78 x 96(h)cm. Blood on Silk: Magenta No Exit, 2017, canvas, paint wood and satin ribbon, 285 x 285 (h)cm Together all nine works are the result of practice-led research into medicalised death in ICU. This can also be described as how a patient dies in ICU when that death has become a medical problem i.e. become medicalised. photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614292476557-VTE6VLDBTEWZXUBZIAXA/DSC_4792.JPG Works 2020-2016 - 2019 - The State Silk Museum, Tbilisi, Georgia The solo site-specific exhibition Woven Architecture in sites 1 and 2 was developed on site and then exhibited at The State Silk Museum in Tbilisi, Georgia initially from July 1st to 29th 2019 then the exhibition was extended until Oct 2019. Woven Architecture is a site specific weaving in two sites within the State Silk Museum. The weaving is made of ribbon and is made of and on the architecture of the site. In this work, the I responded to the institutional interiors of the State Silk Museum in Tbilisi by the making of a site-specific weaving using satin ribbon in shades of off white and black. The structure of the weaving will be made solid by the architecture and the tension or stability of the weave will be the stability and tension of the architectural elements. By using ribbon, the weaving process can be off loom. The architecture is the structure holding the fabric. The satin ribbon coloured black, white and off white is woven into variations of the sateen weave. Both the satin weave as ribbon and the sateen weave as architecture have long floating lengths which are highly reflective, shiny or luxurious. The woven surfaces perform as if they are a photonic device embedded in the architecture. As the viewer changes their angle of viewing, the conditions such as time of day and type of lighting the work appears to change colour and tone. Both the satin and the sateen weaves when they are notated as weaving patterns can be likened to forms of data visualisation where the data consists of determining the classic 0 or 1 of computer programming by showing whether each thread is behind or in front of the other at any point in the fabric. When these forms of data visualisation are overlaid with another form of visualisation through the high contrast colours of black, white and off white, discrepancies, errors and the unexpected become evident. The data is remade by the mode of its visualisation. In this work the sateen weave is overlaid with a weave pattern tracing the marks on a bedside medical monitor showing the changes in the heartbeat, oxygenation and blood pressure of a patient whose abdominal aortic aneurysm has ruptured and they are bleeding out internally to death. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1614300522815-FZ2KYT2PUPFQYUE9DGJ5/Detail+2+credit+pPamela+Kleemann.jpg Works 2020-2016 - 2019 - Blue Mountains Cultural Centre, Katoomba Australia A group exhibition titled Resilience in the times of adversity, Contemporary responses to WWII, was devised and curated by Vivienne Dadour for the Blue Mountains Cultural Centre, Katoomba, NSW, Australia. Vivienne selected the work Coughing up Blood for this exhibition. Follow the link on the image on the left to find out more. During most of World War II tuberculosis was treated by isolation, rest, nutrition and clean air. Sanatoriums to provide treatment including isolation had been established in the Blue Mountains for many years and infected soldiers were often treated here. Coughing up Blood is concerned with an individual patient infected with tuberculosis, not the statistics on the total number of deaths or the frequency of infection, nor on the public health programmes designed to reduce the numbers of infected. This work focuses on the sick returned soldier, alone, frightened and uneasy. It is the landscape of the liminal space of the patient in isolation, both physically and emotionally. They exist between the well, well enough and the dead, the soldier and the civilian, those “over there” in immediate danger and those in limbo at home. This is not a visually complicated work. The elements are stripped back to the minimum. You can see the hospital curtain, the inner isolation room, the empty bed and the back-lit image of the infected lungs. The beautiful but ineffective hospital curtain is made of silk paper hanging high above our heads unable to provide what is expected. It can’t be washed. It doesn’t give the patient any privacy, sight, sound or smell. Bad news given to the patient behind the curtain can be overheard by others on the ward. The bed is empty the patient is elsewhere. Their absence if felt with unease by the visitor. They may have died. There isn’t a new patient in the bed yet. It must have only just happened. The other artists in this exhibition were Vivienne Dadour, Anne Graham, Chris Tobin, and Sean O’Keeffe. Vivienne Dadour also curated the exhibition. Photo credit Patricia Kleemann https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616211768472-8FU8WJVL8JPEC0A2NKCF/DSC07748.JPG Works 2020-2016 - 2019 - Sydney College of the Arts Gallery, University of Sydney, Sydney, Australia A series of performative lectures were undertaken in the exhibition Cast a cold eye in life, in death: The Remake: Medicalised death in ICU. Click on the link on the image to watch a seven minute video of stage one of this performative lecture. This video is of the first stage in the lecture. It starts with an oral history given by an ICU nurses about one patient and her death. This oral history is quoted from 'David Crippen, End-of-Life Communication in the ICU: A Global Perspective (New York: Springer, 2008): 52.' Then I sit behind the audience to tell a fairy tale while they watch the simulation on the bedside medical monitor of a patient rupturing an abdominal aneurysm and bleeding out to death. The quote from an ICU nurse is: Each day I would come in praying that I would not see her name on the whiteboard with my name next to it. And each day both were there. She moved from near death crisis to near death crisis with her vitals often hovering at levels that we all knew were not survivable - yet she survived. Analgesia was difficult due to hemodynamic instability. Her liver failed, she developed an irreversibly metabolic acidosis, and renal replacement therapy became unavailable as her cardiac output fell. Mottled and bleeding she slowly dies. She was almost at the end, a nurse summoned to her bed in the night by an alarm. Her death had taken 2 months and 4 days.[1] [1]David Crippen, End-of-Life Communication in the ICU: A Global Perspective (New York: Springer, 2008): 52. Stage two was to play the card game Racing Patience ICU, a rough, fast game of life and death. In stage three the group moved to the apparently empty exterior space around a hospital where the audience either smoked or just passed time. Stage four thrust the audience back into the economic drivers of human farming and sale by auction of blood and blood products. This theme continued into stage five where human farming became more closely aligned with our expectations of agriculture, of farming animals for meat and milk with the final stage being adjacent to the No Exit work where choice is limited indeed non existent as all doors are closed. Warning: This video and the performative lecture contain images, sounds and activities that deal with death, dying, hospitals, violence, blood and body parts for transplantation. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616395986253-EXFFU0MK6PZCQ9KFWACS/DSC03111+%281%29.JPG Works 2020-2016 - 2019 - Groundswell Conference, Leura Australia Racing Patience ICU, the card game, was selected to be played at the Groundswell conference on death and dying at the Fairmont Resort in the Blue Mountains. A focus of the conference held by Groundswell was arts and health or arts and death. Click on the image to watch two videos. The first is of a conference participant accessing their experience playing the card game and how it relates to their area of research which is developing empathy for disadvantaged people in times of a health crisis The other video is of the playing of the game Racing Patience ICU at an earlier event . The mission statement for the Groundswell project is for the organisation to ‘work with individuals, organisations and communities to improve how people in Australia die, care and grieve.’ This project Racing Patience ICU inhabits the transdisciplinary sites between science, technology and the arts. In this card game, the patient is comatose and has no agency, no ability to physically instruct the ICU team about their wishes. The characteristics of the end of life within an ICU are often driven by technology, and determined by what it is possible to attempt, not necessarily what is in the better interests of the patient. The process of dying is on occasion reported as excessively prolonged, painful and stressful for patients, families and medical staff. The ethics of the decisions made in this process can be questioned. An individual can alleviate the uncertainty arising from a potential future lack of agency by using a legal document such as an Advanced Care Directive which outline the boundaries of what medical treatments are to be used in what situations. The laws covering these legal instruments vary from country to country and it can be difficult to know if the patient has completed such a document if they are unattended and comatose. There is no central registry that can be checked to determine if such a directive exists or not. In addition, many patients present having not completed an advanced care directive or its equivalent. https://www.thegroundswellproject.com/blog/2019/10/30/phpci2019-compassionate-communities-in-action-reclaiming-ageing-dying-and-grieving https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616212407024-YUV89K2OPM3LGBHDVSOT/tbilisi+escaltor+lights+.JPG Works 2020-2016 - 2019 - Golden Age Cinema, Sydney, Australia This suite of three short fairy tales was screened at the Golden Age Cinema, Sydney Australia under the title Once upon a time long ago, and far away x 3. Click on the image to the left to watch the three videos. Imagine you have popcorn and can’t leave until the end. This was my first screening of video works within the cinema context. The narrative of the fairy tales with a beginning, middle and end was not so workable in the gallery context where the audience tends to come and go. The cinema context focuses on the idea that there is a beginning and end to the work. The script of the first fairy tale - Once upon a time long ago and far away: Being moved from one place to another. Chapter One: We can see a patient lying on a trolley in a recovery bay. The patient has come back from surgery. We can see that they are asleep. One eye blinks. The patient can see fuzzy, ill-defined and unfamiliar shapes. We can also see these shapes around them. The patient is half awake. They are unable to move. Death appears and challenges them to a cooking competition. The patient is scared. Chapter two: The patient is being moved from one place to another. They are on a trolley. Flick, flick, blink flick flick, blink. The patient is alone in the corridor. Death appears and counts down from three to one, starting the competition. Death is cooking a sponge cake with a middle layer of strawberries and whipped cream. The patient pushes Death away. Death falls off the trolley onto the floor and spills the cake mixture. It forms a lake on the floor that looks like the map of Greenland. Chapter Three The patient is alone in a room. They decide to make a lemon delicious pudding. The end. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599994343679-4T2NYP8CWI997F40MEMK/last%2Bseen%2Bicu%2Bdoor%2B2.jpg Works 2020-2016 - 2019 - Cast a Cold Eye on Life on Death: The Remake: Medicalised Death on ICU. Fiona Davies completed a practice led PhD during 2019. Her thesis can be viewed/downloaded from the University of Sydney Library website at https://ses.library.usyd.edu.au/handle/2123/21232 Cast a Cold Eye on Life, On Death is a quote from W.B.Yeats https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617272775680-TR21ZBIJEWIUOMMP1JDM/building+a+house+of+cards+%282%29.jpg Works 2020-2016 - 2019 - 2nd Worldwide Studio and Apartment Biennale The performance of building a house of cards with the non standard cards of the game Racing Patience ICU This work Building a Hours of Cards was one of the performative private provocations that formed part of the program put together by the artist collective MAPBM for the 2nd WASB titled ‘We respect your privacy.’ From the WASB website - In the times of the utmost digital intruding in personal life, we are constantly reminded of validation of our privacy in continuous pop-up screens of web-pages and endless sign-in forms. And aren’t those conditions are entirely neglected by predictive typing, content suggestions and “things you might also like”? How much do you anticipate the invasion in your personal life when creating massive social network presence? Didn’t you tape off your laptop camera? Don’t you get advert recommendations about something, you’ve merely spoken in the presence of your phone? However, the Biennale topic is more comprehensive than concerns regarding digital interference and “15 minutes of fame”. Following the subject of the 1st WASBiennale – Be My Guest, the theme WE RESPECT YOUR PRIVACY? repeatedly addressing the current socio-political situation in the world, as well as artistic representation in the circumstances of recession. Is it really possible nowadays to stay quiet and “nonresistant to evil”, do not make a choice, do not participate in some way? Is the position of the spectator a way of independence, or is it masks neglection? And would it be ethical to encourage someone to be committed, or it will be disrespectful to their privacy? https://www.fionadavies.com.au/works/2020 monthly 0.5 2021-01-02 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1627725478439-529VCMHO18811NEXWKE0/davies+fiona+overall++%282%29.jpg Works 2020-2016 - 2020 - International Limestone Coast Video Art Festival, Mt Gambier Australia. The expert selection panel Simon Biggs, CJ Taylor, Merilyn de Nys, Melentie Pandilovski, Serena Wong and Melissa Horton chose my work Once upon a time long ago and far away: shutting down in isolation, 2020, video, 4’15” for the International Limestone Coast Video Art Festival at the Riddoch Art Centre, Mount Gambier, South Australia. As Eve Sullivan from Artlink wrote in her online review dated 8th Dec 2020; More focused on communicating the facts through bold storytelling, a work by Fiona Davies from her series Blood on Silk, Shutting Down in Isolation, extends the reference to the progress of the pandemic, drawing on Ingmar Bergman’s The Seventh Seal. Davies’ narrative voiceover in this work accompanies the view of a large gloved hand placing, turning and replacing wrapped toy figures on trestle blocks as hospital beds drawing on the artist’s recent research into death and dying in an ICU. Less a fairytale than a blow-by-blow account of what to expect based on what is currently being played out in hospitals around the world as the infection rates once again surge, this dramatically simple but impactful work lends its weight to the “techno-scientific upsurge” overlapping the sociopolitical crises that Pandilovski argues is the media message for now.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1606972710218-CQIC3N08BHSXTCI45D4O/fiona_davies_1b_square+%282%29.jpg Works 2020-2016 - 2020 - Plas Bodfa, Wales, United Kingdom Community Plas Bodfa, Wales UK. Group exhibiton, Unus Multorium Group exhibition from 1 April to 13th August Blood on Silk: Try to stand out/try to hide No’s 1 to 10 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1627725629110-1IBS6MMZ2CJ6WTCGDPEG/DSC_5254+%283%29.JPG Works 2020-2016 - 2020 - Blue Mountains Cultural Centre, Katoomba, Australia The work Once upon a time long ago and far away: shutting down in isolation, video 4’15” was commissioned by the curator Sabrina Roesner for the group online exhibition, Shift + Control + Exit at the Blue Mountains Cultural Centre Katoomba Australia, ‘In the midst of the COVID-19 pandemic, which is unfolding on a global scale, this digital exhibition explores the shifts that are occurring in our society; from the rise of social distancing, the collapse of our economies and the growing fear of the invisible enemy – the Corona virus.’ quote from exhibition website https://www.shiftcontrolexit.com/ The other artists were Brett Zejko, Damian Castaldi, Jodi McConaghy, Locust Jones, Marty Walker, Ona Janzen and Rachel Peachey & Paul Mosig https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599879104162-IRER7EHDTZ8H0C66ZDO0/Official+Selection+Laurel+%281%29.png Works 2020-2016 - 2020 - 9th Kolkata Shorts International Film festival 20, Kolkata India. Screenings 9th Kolkata Shorts International Film Festival- 20 from July 19th. Selected work Once upon a time long ago and far away x 3 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599986283642-AKHOUVUEALQ2SULWIH82/violence+of+medicine+Untitled-1.jpg Works 2020-2016 - 2020 - Violence of Medicine Writing https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1606969416671-K2K8GTY5IRAPSXE1Y29O/DSC04362.JPG Works 2020-2016 - 2020 - MAPBM: FABRIK at Penrith Regional Gallery - Home of the Lewers Bequest The five artists, I selected for this exhibition are Vivienne Dadour, Beata Geyer, Anne Graham, Ian Milliss and Ebony Secombe, are all also members of Modern Art Projects Blue Mountains (MAPBM) The exhibition: The title of this exhibition, Fabrik, overlays the word fabric, the basis of all textile and clothing, with the word fabrik to emphasise the place of making, of manufacture rather than just the material being made. The idea that the object is not independent of how it is made, how it is used and how it is disposed of is the basis of this exhibition. By looking at one element of our lives - how we buy and wear clothes and buy and use textiles in our homes - we can consider so many other aspects linked to us through these everyday activities. We can think about conditions of employment, how we use, reuse and dispose of the materials in our world, how our history informs our present and how change can be sought. The five artists, Vivienne Dadour, Beata Geyer, Anne Graham, Ian Milliss and Ebony Secombe are members of Modern Art Projects Blue Mountains (MAPBM) which is based in the Blue Mountains and Western Sydney. MAPBM is a membership-based group which seeks to develop the practice and public presentation of contemporary art in this region and this context. Three sections of text written by me are scattered between the artists’ works on the next page. These acted as provocations down the central corridor of the exhibition space. Click on the image to see all of the works in the exhibition. The image is of a detail of Anne Graham’s work The Gardens of Stone. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229262711-BJ3QZXFGXBX3IJTQ6O86/IMG_5001.JPG Works 2020-2016 - 2020 - SewnUp and SewnUp2 at Lyttleton Stores, Lawson, Australia for MAPBM. The artists I selected for this exhibition were Linda Adair, Tom Isaacs, Eloise Maree, Tess Rapa and the collaborative duo Rachel Peachey and Paul Mosig. All are members of Modern Art Projects MAPBM An exhibition by a Blue Mountains contemporary arts group which questions fundamental aspects of how we manufacture, use and dispose of clothing, footwear and textiles opened on the 4th April 2020 at Lyttleton Stores, 1 Badgery Crescent, Lawson. It then reopened in October 2020 after Covid-19 lockdown conditions had been eased In the comfortable and familiar surroundings of the popular cooperative store and gallery the artists examined the materiality of sewn consumer goods and some of the questionable aspects of their manufacture and disposal, including the economic security and conditions of workers in these industries. SEWNUP also explored the feasibility of reusing or repurposing textiles, clothing and footwear – as well as the major ecological impacts of their disposal to landfill. The public was invited to examine the delight of these consumer goods, but also to become more aware of their downside. SEWNUP occupied the space between the beauty and appeal of textiles. clothing and footwear and the impacts of their production and disposal on the social and ecological fabric of society. This project was supported by the Blue Mountains City of the Arts Trust Tom Isaacs’ work. Details as per linked page. Photo credit Alex Gooding https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607230811280-1603PN5RA5K9J0PL8GFF/Hello+World+snip.JPG Works 2020-2016 - 2020 - Hello World, A Transcultural Online Project of Exchange Hello World, An Art Affair Around the Globe. It was a virtual travelogue of art works created by nearly 250 artists working in Europe, Africa, Asia, the Americas and Australia and organised by Transcultural Exchange on the basis of the extensive worldwide contacts built up through their conference program. ‘Hailed as “one of the best things in the art world today,” by the renowned artist and founder of the London Biennale David Medella, TransCultural Exchange’s Conferences are the only of their kind, and have become the organization’s chief activity. These Conferences bring together hundreds of international artists, residency directors, teachers, administrators, biennale organizers, cultural attachés, high level critics, curators and grant makers to network, share best practices and learn of new trends and developments. They include artist showcases, panels, round table discussions, receptions, workshops and portfolio reviews. For many young artists, the Conferences are the missing link between academia and a real world art practice. For more established artists, they are an essential forum for networking with their peers around the globe.’ From the Transcultural Exchange mission statement on their website https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607996507513-4VWVPCJSWTF1BIZ04W03/covid+19+memorium.JPG Works 2020-2016 - 2020 - IMMEMORY an Online Archival Project. Initiated in the midst of the COVID-19 pandemic in early 2020, IMMEMORY is a long-term archival project that aims to facilitate sharing of creative and thoughtful responses to the changing pandemic crisis from across the world. The video Work Blood on Silk: Shutting Down in Isolation was selected for this archive of responses by artists and writers. https://www.fionadavies.com.au/works/2016/bleeding monthly 0.5 2021-03-28 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1608869812207-UE7KNOU03T3VFK5TFTL9/Blood+on+Silk+Bleeding+Out+_Fiona+Davies+%284%29.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1608869879206-O3SNLUAIIAHD4POX5PMK/Blood+on+Silk+Bleeding+Out_Fiona+Davies+%284%29.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1608869925648-8LK2H2KNITGECEGTBO6E/Blood+on+Silk+Bleeding+Out_Fiona+Davies+%288%29.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1608869973554-VF3Y4QRVTTPSDP90IGNX/Blood+on+Silk+Bleeding+Out+_Fiona+Davies+%282%29.jpg https://www.fionadavies.com.au/works/performativelecture monthly 0.5 2020-12-15 https://www.fionadavies.com.au/works/buysell monthly 0.5 2020-12-07 https://www.fionadavies.com.au/works/racing monthly 0.5 2020-12-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604039037888-HZT82US77LV43NDKX9RA/0S6A4324.jpg Works 2020-2016 - Racing https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620824567899-J8WMBQK2Q50J6VVUSF65/Racing+patience+ICU+rules+of+the+game+.JPG Works 2020-2016 - Racing https://www.fionadavies.com.au/works/woven-architecture monthly 0.5 2020-12-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599968218158-QT5BN7TE1BHTNDTUTFF9/site+1+1.jpg Works 2020-2016 - Woven Architecture https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599970224141-JVWNOGXS6RNLF81OJI7I/site%2B2%2Bcentral%2Bpanel%2B2.jpg Works 2020-2016 - Woven Architecture https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599971043455-N155TWJM3REXU76BPGQ0/site+1+detail+9.jpg Works 2020-2016 - Woven Architecture https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599989775769-C0T1QOKRJDQ6Q1NQ3792/site+1+detail+11.jpg Works 2020-2016 - Woven Architecture https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599990010064-85VFH6TK10W9USKCFQ8U/site+1+detail+13.jpg Works 2020-2016 - Woven Architecture https://www.fionadavies.com.au/works/cast-a-cold-eye-on-life-on-death-the-remake-medicalised-death-in-icu monthly 0.5 2020-12-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860345492-JAYE9XKUMFKP2D3RUT52/%2Fworks%2Fcast-a-cold-eye-on-life-on-death-the-remake-medicalised-death-in-icu Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU - Floor plan of the nine works in the exhibition: Medical Monitor Work, 2017 video 7’23”. Racing Patience ICU 2018, canvas, paint, found objects and printed matter, dimensions variable Blood on Silk: Last Seen (partial) 2017, reconfigured 2019 metal, paint, vinyl print and found objects, dimensions variable ( Blood on Silk: Price Taker Price Maker 2015 reconfigured 2019 Sound, printed materials and found objects, dimensions variable Blood on Silk: Last Seen (partial) 2017, reconfigured 2019, silk paper, dimensions variable. Blood on Silk: Blood Farming/The Producers, 2018, plastic, metal, paint, ink, projection and found objects, 135 x 78 x 96(h)cm Blood on Silk: Bleeding Out, 2016, metal, glass, paint, ink, projection and found objects, 135 x 78 x 96(h)cm. Blood on Silk: Buy/Sell, 2017, metal, glass, paint, ink, projection and found objects,135 x 78 x 96(h)cm. Blood on Silk: Magenta No Exit, 2017, canvas, paint wood and satin ribbon, 285 x 285 (h)cm photo credits Alex Gooding and Alex Wisser https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600846635132-H9QXCZS3SR1PDVVRSTO4/medical+monitor+3.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860481307-L3A4D9FA5QZWZL4QBUSR/%2Fcast Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600846835305-UKLQRV5SOX0GWQG4QX79/racing+patience+ICu+in+context+1.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600846959943-3APMBEU3BO75MYZUUAKS/racing+patience+icu+3.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600851951464-C16NQWU8UUJFJTJUKITJ/last+see+ashtrays+5.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600852046278-N4BSNI0DYG4KNMOA2TO7/05+Fiona+Davies+Cast+a+Cold+Eye+-+Performative+Lecture+Site3+detail.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600852328656-IL7YT9F4T564YIHE4XGE/DSC_8702.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600852640907-ZOZ1ERTYM3AIQ3RYL462/price+taker+price+maker+detail+23.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600852739374-GYT9M1RFQYXUN3EEA69J/price+takerprice+maker+5.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860592638-34IZNCBWFXH65VT167H0/price%2Btaker%2Bpirce%2Bmaker%2Bdetial%2B26.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860644075-RPKHFID5EILD8O20T78G/DSC_8617.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600853072855-OO3THK7YJRS4WG3UOMZH/human+farming+1.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600853170753-E6U47IF251T2AQPC1I1A/hamn+farming+5.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600853253197-74J57R6404BPUN0SHZ3J/human+farming+detail+4.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600859466747-EZOIGTWU4SACVVZSQTDD/DSC_8564-HDR.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860719112-NGFEUE6HFL86UQCZ1M64/DSC_8584.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860801125-R56PU8N7DMAURBVEI20J/bleeding+out+detail+15+C.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600860914030-QDRBR6BO7CKWS0KRNKV6/buy+sell+detail+4.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600861006547-AYUAKZE2LWTFBC80YHSP/buy+sell+16.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600861240351-FCP8O83G7E3774VRZRRZ/bleeding%2Bout%2Bin%2Bcontext%2B2.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600861280224-NMHQKENXK1DHZ7FKL5EI/DSC_8549.jpg Works 2020-2016 - Cast a cold eye on life, on death: The remake: Medicalised death in ICU https://www.fionadavies.com.au/works/sewnup monthly 0.5 2020-12-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607224794727-NKDL0MOAT21P2HMIFPWP/DSC_5221.JPG Works 2020-2016 - SewnUp - Tom Isaacs in the April SewnUp exhibition Top row from left to right Reverse Alchemy, I began defeated and La Petite Mort Bottom Row from left to right Anamnesis (Remembrance), Milk and Judgement. 40 x 40 cm, Felt and thread Reverse Alchemy https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229262711-BJ3QZXFGXBX3IJTQ6O86/IMG_5001.JPG Works 2020-2016 - SewnUp https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607225220722-IVS5CDNIYGPSQZ81XXK5/DSC_5219.JPG Works 2020-2016 - SewnUp - Linda Adair in the April SewnUp Behind Closed Doors 1 and 2, (from right to left) each work 82 x 106 (h) cm, found objects and digital prints. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607228739440-Q3H4DLE5STCK9JYSIIEC/bmap+at+littleton-14.jpg Works 2020-2016 - SewnUp - Linda Adair in SewnUp2 in workshop and seminar room. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229058513-5I0XGHCO7M4WG8MCJWRQ/bmap+at+littleton-19.jpg Works 2020-2016 - SewnUp https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607228862998-OYN0O9ZA2NQ677B40CLY/bmap+at+littleton-15.jpg Works 2020-2016 - SewnUp - Eloise Maree Caducity’s Daughters 1-3 (left to right) each work 10.15 by 12.70 (h) cm, aluminotypes https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607228987796-6MCS2TZOXALAM5YLN3KB/1%2C+Caducity%27s+Children.jpg Works 2020-2016 - SewnUp https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229088391-HZ0K4DT2SKKL9068KZ0I/bmap+at+littleton.jpg Works 2020-2016 - SewnUp - Rachel Peachey and Paul Mosig Grave Goods 1 2020, Converse shoe, thread Grave Goods II 2020 Volley shoe, thread Grave Goods III 2020 Adidas shoe, thread, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229328105-F7G3H6VQAL81OZMF4958/bmap+at+littleton-4.jpg Works 2020-2016 - SewnUp https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229356786-Q8GF4KBD7U0JB8GG2AML/bmap+at+littleton-6.jpg Works 2020-2016 - SewnUp - Tess Rapa Bring them Back No’s 001, 002, 003 and 004, 2019 – 2020, thread, found objects and fabric. Size variable. These jeans are retailed under a product stewardship system. This is an environmental management strategy where the artist takes responsibility for minimising the environmental impact of the artwork at all stages of its life cycle. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607229434909-W3F5BR1VEY9WWC1A1OYH/bmap+at+littleton-12.jpg Works 2020-2016 - SewnUp https://www.fionadavies.com.au/works/fabrik monthly 0.5 2020-12-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607213532471-9Y2UWFHL9D4QKDZ5OEGL/DSC04499.JPG Works 2020-2016 - curatorial fabrik - Ian Milliss The complete picture , 2020, digital prints, events, size variable “Context is everything. We see fashion in isolation with little thought to the people, animals and processes involved in its production or its afterlife as waste and the problems it creates. The obsession with cheap disposable clothing has created major problems in every part of this process which ethical and sustainable clothing activism is trying to change.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620793858389-HFGZAW76I5K0XHMX2EZ5/DSC04392+%282%29.JPG Works 2020-2016 - curatorial fabrik - Ebony Secombe Sitting with Fear and Empathy 2020, yellow and black caution tape, dimensions variable “Sitting with Fear and Empathy (2020) references traditions of the Bauhaus and Expanded Architecture movements, speaking to social and political understandings of space and place, tying in with contemporary practices of Modern art. Sitting with Fear and Empathy references the role of textiles in feminist and queer artistic and political practices through abstraction and labour. The hand-crafted textiles work grows over the duration of the exhibition, considering the place of textile practices in supporting conversation – time set aside to perform the labour of its creation is time set aside for the self and for others. Sitting with Fear and Empathy brings the materiality of the urban together with the domestic craft of crochet, to form a bridge between worlds, allowing space for discussions around power, violence, control, access and healing. The object is complex, the rug that secrets are swept under, the result of a labour of love, a signifier of family and community, a square in the fabric of society, the thread that denies access can be twisted and stitched or crafted into a place of warmth, vibrancy and welcoming. Sitting with Fear and Empathy is about taking time, making space for healing, love and connection.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620793443601-Y93X2M68YR1SRC1MDCOQ/DSC04397.JPG Works 2020-2016 - curatorial fabrik - Beata Geyer LOVED, 2020, acrylic paint, wood, MDF, fabric, found objects, video, size variable “Colour sells and right colour sells better” – Colour Marketing Group “LOVED explores intersections between colour, fashion and design with a particular focus on colour forecasting and palette development. Complex and yet intuitive, colour forecasting has a history dating back to 18th Century and has been a major driving force in fashion and textile industry since. Colour forecasting is a fundamental part of fashion and trend predictions, a collective effort to accurately forecast what consumers wants to purchase approximately two years in advance. As most of the products that we buy are fundamentally the same, colour plays a major role that influences our purchasing decisions. Colour feeds our cycle of consumption, offering seemingly new choices time and time again. Every year new colour palettes are released by major forecasting companies such as Pantone, CMG, WGSN, for manufacturers of all kinds of consumer goods to follow. Fashion designers both set and follow trends, increasingly feeding into other industries, particularly interiors and furniture design, with fashion houses routinely adding interior collections to their arsenal. The current collective mood makes it difficult to tap into future zeitgeist and the (post)pandemic colour forecasts seem to highlight our lack of certainty about the future. The trend books offer a vast array of themes, from psychedelic neon’s, energetic reds, exuberant oranges, strong blues and cooling greens, to muted, bohemian neutrals, and timeless monochromes. LOVED is a colour forecast, a personal journey into the past, the present and the future, a colour palette of now and next.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620793622965-6FMZCI6E4XRXR58DFAEU/DSC04386.JPG Works 2020-2016 - curatorial fabrik - Vivienne Dadour Make No Delay: Trading by Foot – Syrian Mary Hawking in Dark Corner, 2020, digital photographic prints found objects, archival documents, HD 1080p looped film duration: 5mins “Make No Delay: Trading by Foot – Syrian Mary Hawking in Dark Corner is a research-based project that investigates and aims to decipher the extraordinary labour of Syrian women in 19th Century regional NSW. The life of Syrian Mary, a rural hawker, is used as a metaphor to examine how oppressive racial attitudes, harsh economic conditions and power structures influence questionable working conditions for immigrant Syrian women hawking in rural NSW. The culture, traditions and customs of the late 19th and early 20th centuries relegated rural hawkers to unseen corners of our past. Syrian Mary lived in the NSW township of Mudgee and walked the lonely roads and tracks of the district, travelling to Bathurst, Dark Corner, Lithgow and back. She walked along, along isolated and dark roads embroidering, knitting and sewing everyday goods to sell to isolated farming families that included textile and haberdashery items carried in a big wicker basket on her head. Most Syrian immigrants in Australia c1890-1920 had meagre cash and spoke little English. Additionally, various forms of official and social discrimination made it difficult to find employments in the industries dominated by the Anglo-Celtic labouring classes. The only option open for many was to work as hawkers on foot in suburban and rural areas. Art work produced for this project incorporates material gathered from on-site rural NSW, oral history, historical photographs and documents from Dadour family archives, archival documents and archival objects. Installed in a Victorian style hang they serve the dual function of not only referring to the wider trade spectrum of the time 1880-1930 (socio-political contexts of production, exchange and consumption) but also to the individual biographies of Syrian women hawkers in this economic system who were often overlooked but made significant contributions to the development of their local and wider communities.” https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607214307280-B5YVW42DTYQW0ZCYRAWM/DSC04360.JPG Works 2020-2016 - curatorial fabrik - Anne Graham The Gardens of Stone, 2020, Recycled woollen blankets, dyes, wood, painted steel bases, each 61 x 61 x variable height (cm) Courtesy of the artist and Kronenberg Mais Wright, Sydney https://www.fionadavies.com.au/works/corpus monthly 0.5 2020-11-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753357510-66N0B3L8VS5PB264KGSZ/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Works 2020-2016 - Memorial / Time of Death No 3. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616328189284-BNCYU5A6Q7QT4U16FFNA/Blood+alcohol+on-silk-bloodbags-004_edited-3.gif Works 2020-2016 - Memorial / Time of Death No 3. https://www.fionadavies.com.au/works/ephemera monthly 0.5 2020-10-31 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604127990603-TDVSFW9CVO7SEQZTNRYD/DSC_5310.jpg Works 2020-2016 - ephemera https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604128031081-NQL3R6Q2LQS1U0S5RJMR/DSC_5357.jpg Works 2020-2016 - ephemera https://www.fionadavies.com.au/works/shuttingdowninisolation monthly 0.5 2025-11-28 https://www.fionadavies.com.au/works/2017/overlook monthly 0.5 2021-06-28 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1603852005710-EWAIC99NCIYN6QAY5CVF/bleeding+out+4+detail+03+copy+.jpg Works 2020-2016 - overlook This work, Blood on Silk: Blood Fountain is the third in this series of wonder cabinet-style works. Again, a zinc box sits on a metal table. The top surface of this box holds a series of glass key or valet trays. These trays, also called pocket dump trays, are designed to hold keys, wallet, mints and all the other things carried every day. In this work the trays hold unusable glass syringes and frame either side of each viewing hole. Underneath, in the private, subterranean sections of the work, there are small figurines scurrying and running, seeking to keep out of the light, to avoid the eye of authority. Viewers can bend to see, through the peepholes, scenes of medical or transplant tourism being played out. In one scene, a diorama of overdressed, anxious tourists perch on sunbeds around a fountain of blood-like liquid. They are being splashed as it is pumped through the system. They face away from the sight, as if unwilling to engage with what is happening. An overdressed bodyguard, wearing a suit and hat, supervises the transplant tourists in the tropical scene of fountains, palm trees and daybeds. A live organ producer sits off to one side wearing a celebratory sash that denotes his seemingly high status. The fountain in this artwork does not work beyond 10 days. The system clogs or clots as the liquid thickens and can no longer be pumped through the system. It must be replaced to continue working. Again, this requirement that the technical, installation, or curatorial staff are complicit in the smooth running of the blood fountain further implies the reciprocal relationship between matter and people and the complicit relationship between the transplant tourist and the matter of the black-market transplanted organ. The fountain appears to be wasteful in its use of a product generally thought to be in short supply and valuable in monetary, social, and cultural terms. The materiality of blood both connects and separates all humans; the use of blood for a fundamentally meaningless spectacle grates against these two profound but ambivalent positions at the same time. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600990724580-K9CIIVUB180BNWGF1U6Q/Blood+fountain+detail+cropped+E+%29.jpg Works 2020-2016 - overlook https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1624880921153-UIPSZUBS0UVFWFO93BX6/IMG_3304+%282%29.JPG Works 2020-2016 - overlook - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1624881070131-SPF9BKU8LZSP50FYSS8H/DSC_3799+%282%29.JPG Works 2020-2016 - overlook - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1601421699618-VDHYQSRKN1SIDME67A2N/20160406-fiona-davies-blood-table-113.jpg Works 2020-2016 - overlook https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1624881450014-O02HTVXAQN342E5J9X4X/bleeding+out+detail+13.jpg Works 2020-2016 - overlook https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1624881309669-XEITI7QB58CY5Y3LTFQ7/bleeding+out+detail+15+C.jpg Works 2020-2016 - overlook https://www.fionadavies.com.au/works/coughing monthly 0.5 2021-03-22 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1603844688443-E5YODJN1STEN79MM0AQE/DSC_9761-HDR.jpg Works 2020-2016 - Coughing https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1603844723852-IZ6BOBK7UNDXOFOAGGUR/DSC_9787.jpg Works 2020-2016 - Coughing https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1603844871259-EOUY66MWRRA8Y57VORYG/Detail+2+credit+pPamela+Kleemann.jpg Works 2020-2016 - Coughing https://www.fionadavies.com.au/works/biosociety monthly 0.5 2020-09-30 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/262666bf-0fab-4d44-a775-33397dbb161b/Capture.JPG Works 2020-2016 - biosociety https://www.fionadavies.com.au/works/cudos monthly 0.5 2020-09-25 https://www.fionadavies.com.au/works/2017/painting monthly 0.5 2021-04-01 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600569350527-EUCNEFXU3EZ8VCQPQNDI/Painting+the+throat+6.jpg Works 2020-2016 - Painting From her essay in the Explorers catalogue Associate Professor of Visual Arts, Jacqueline Millner from Latrobe University, Victoria Australia proposes that , ‘Fiona Davies reimagines and revitalises lost histories too, in this case bringing her sensitivity around the medicalization of vulnerable people to the boy boarders once resident here. Davies has rendered the basins in the boys’ washroom into pathology slides: as we peer down, we catch a glimpse of disease and possible institutional responses to it, gaining a visceral sense of how these young bodies were once patrolled and controlled.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600569427932-B6G9HURE1BANX7RSHRNG/apinting+the+throat+4+web+.jpg Works 2020-2016 - Painting https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600569679137-EENK945VGREFCDSQ61EC/Painting+the+throat+3+.jpg Works 2020-2016 - Painting https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600569802558-HCSFBC2MXZM79DWP91GD/Painting+the+throat+9.jpg Works 2020-2016 - Painting https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600570258779-652GZSA86H1N8E9I9OI3/Painting+the+throat+10+.jpg Works 2020-2016 - Painting https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600570540022-KZ0BVTTRZW9SJCTYIUID/DSC07200.JPG Works 2020-2016 - Painting https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600570660763-N17XW1ZYCK2XLE5VSBSP/DSC07922.JPG Works 2020-2016 - Painting https://www.fionadavies.com.au/works/groundswell monthly 0.5 2020-10-28 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620892808436-3JXGWE9O24NF7WW90A4M/Racing+patience+ICU+rules+of+the+game+.JPG Works 2020-2016 - Groundswell - Racing Patience ICU This project Racing Patience ICU inhabits the transdisciplinary sites between science, technology and the arts. In this card game, the patient is comatose and has no agency, no ability to physically instruct the ICU team about their wishes. The characteristics of the end of life within an ICU are often driven by technology, and determined by what it is possible to attempt, not necessarily what is in the better interests of the patient. The process of dying is on occasion reported as excessively prolonged, painful and stressful for patients, families and medical staff. The ethics of the decisions made in this process can be questioned. In this card game the competitive nature of the rules of engagement ensure that the focus is on doing whatever is possible to push the patient’s condition in the desired direction even if it is not legally, ethically or morally appropriate to do so. This can be seen to apply to both players as they make decisions about which card to play when and the impact that will have on the final result for the often disregarded patient. Exhibition and Performance History Holding Space - A MAPBM Kiosk 3 x 6 project, The Kiosk, Katoomba, Australia, 20 to 27 January 2018 Dr Karl goes West - Joan Sutherland Arts Centre, Penrith, Australia 15th August 2018 In Translation a SCA Curatorial Lab - Verge Gallery, University of Sydney, Sydney, Australia 18th October -3rd November 2018 Cast a cold eye on life, on death: The Remake: Medicalised Death in ICU - SCA Gallery University of Sydney exhibition and second stage of the performative lecture from 10-18th May 2019 Groundswell Conference - Fairmont resort, Leura, Australia, 14th October 2019 https://www.fionadavies.com.au/works/blood-on-silk-try-to-standout-try-to-hide monthly 0.5 2020-09-14 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599986757982-5VD2ZTH0LBSK0B82UH2P/DSC_5177.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/try to hide No 8 Being moved to disposal, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599889670170-J25B68C1VR5H7I6FHV8Y/DSC_5171.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide, No 8 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599889709761-C7MJP6E8T4RC6MABAZQ2/DSC_5122.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 3 Being ready to be milked, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599889694467-6MVVR16GI3Y9GM4CB9X9/DSC_5162.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 5 Being without any defence, 2019-2020, found objects, balsa, paint,approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599987827590-JYL3F2FTH11DU9JNJ1AL/DSC_5127.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 2 Being held in aluminium straightjackets, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599987562389-P1F8H6987IKNNPNT3KA9/DSC_5144.JPG Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 3 Being ready to be milked II, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599987805318-3ZSJ9BE4AJV2IA7K96GA/DSC_5155.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 1 Being photographed in the dress uniform of the overseers, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599987773645-I3LJPUJ65QDDF5QX81CQ/DSC_5180.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 10 Being with the dead, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1599987747122-USCH8G7RPJ8M64V7IBT9/DSC_5202.jpg Works 2020-2016 - Blood on Silk try to standout try to hide Try to stand out/ try to hide No. 6 Being the deluded supervisor, 2019-2020, found objects, balsa, paint approx 140 x 50 x 100mm https://www.fionadavies.com.au/works/once-upon-a-time-long-ago-and-far-away-x-3 monthly 0.5 2020-09-13 https://www.fionadavies.com.au/works2015 daily 0.75 2025-06-02 https://www.fionadavies.com.au/works2015/parramasala monthly 0.5 2021-05-09 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620563264675-1T5MQOFX1JTFFSLN7C00/20111106-paramasal+documentation-126.jpg Works 2015-2011 - parramasala https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620563299602-369BFUUSRBP18B3GZN2E/20111106-paramasal+documentation-4.jpg Works 2015-2011 - parramasala https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620563346904-CLPLZN2OUXM2W7YDGJ2G/20111106-paramasal+documentation-8.jpg Works 2015-2011 - parramasala https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620563518656-V2D8O0BENKER9WDAFW3W/20111030-paramasala+opening-145.jpg Works 2015-2011 - parramasala https://www.fionadavies.com.au/works2015/timeofdeath monthly 0.5 2021-05-08 https://www.fionadavies.com.au/works2015/cuts monthly 0.5 2021-05-05 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620219698539-VXAS0UVEPI5RY5KJRZEB/DSC_3591.JPG Works 2015-2011 - cuts https://www.fionadavies.com.au/works2015/collaboration monthly 0.5 2021-04-27 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/2175ee4c-e2ab-4fdc-bd3f-88df54f18c61/IMG_6146+%28002%29.jpg Works 2015-2011 - collaboration - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/works2015/double3 monthly 0.5 2021-04-18 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745426814-DD6TRAQ9E5P554ODW4A7/fdavies+9+OZCO.jpg Works 2015-2011 - doubleIII https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745471705-KMAL04ADUDUIIK8RVO2Z/fdavies+OZCO+8.jpg Works 2015-2011 - doubleIII https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745520649-ATGU2KBYE2Z00R7RPIZL/9.JPG Works 2015-2011 - doubleIII - Blood on Silk is a collaborative project between the late Dr Peter Domachuk, Dr Lee Anne Hall and Fiona Davies. This collaboration arose from an accidental intersection while I was developing an installation for the foyer of the School of Physics at the University of Sydney, Australia in September – October 2010. That work was titled Memorial / Double Pump Laplace II, and was the second in a series of three, site specific installations, loosely based on narratives of the dying and death of my father, in 2001. During the four and a half months my father spent in intensive care the daily routine taking of blood samples became part of the pattern of the day. The late Dr. Peter Domachuk’s research project adds new layers through the study of silk implantable microchips to allow real time measurement of the properties of blood while that blood is still circulating within the body. These silk microchips are refined, transparent and dissolvable therefore disposable, a biophotonic chip. Dr. Lee-Anne Hall a creative writer and museum studies expert also added layers of interpretation to the collaboration. The groups thinking on the issues to address includes – the materiality of silk as a ‘natural’ protein fibre, ‘green’, ‘sustainable’, produced by an insect as the cocoon of the silkworm, triangular cross section, non allergenic – the cultural history of silk . ‘silk routes’ pathways of commercial, cultural and technological exchange Early industrial espionage (Byzantine period) associated with stealing the technological information about how to make methods of making silk yarn form the cocoons, Islamic teachings against the wearing of silk by men – The materiality of the refined silk / fibrion It’s characteristics – transparent, castable or mouldable, conformable to flat or patterned surfaces, cast or spin coat; water content and method of drying drives dissolvability and disposability. – The mechanism of reading blood characteristics in the array; patterning and organisation – The concepts of liveness of internal feedback , reading the body in real time; the possibility of self monitoring; instead of the sample being removed from the body to be read, it remains part of the body. The testing process is internalised rather than an external process. – The medical ethics debate and the cost of health care. – The relationship between humans and other animals. There are reports of an animal rights movement that disapproves of the death of silkworms in the process of obtaining silk. It is possible to get silk from what is called pierced cocoons, ones that the moth has left naturally. Prior to commercial use the testing of implantable chips in animals/humans? – Human rights through other uses of implantable chips; issues of surveillance or monitoring. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745569853-1M7P2WV7KLQINIHTZ0PX/500kbfionadavies+-+Memorial+Double+Pump+Laplace+2+.jpg Works 2015-2011 - doubleIII https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745614729-OH91S320L7CPN7OUHFTU/fionadavies+OZCO+2.jpg Works 2015-2011 - doubleIII https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745671798-G6KK2D0RM9ZAH1398OGA/fdavies4.jpg Works 2015-2011 - doubleIII https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618745714310-GUZBZO9M7ID7H4D32OYD/fdavies2.jpg Works 2015-2011 - doubleIII https://www.fionadavies.com.au/works2015/opshop monthly 0.5 2021-04-16 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618550687083-L9FRKI0NI94JJF07I1A0/IMG_2125.JPG Works 2015-2011 - opshop https://www.fionadavies.com.au/works2015/piano monthly 0.5 2021-04-15 https://www.fionadavies.com.au/works2015/tufts monthly 0.5 2021-04-15 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618493237964-26BDUKP6WQE1M1U0C2QU/DSC_6243.JPG Works 2015-2011 - tufts https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618493338934-1T76SSMR4PTABMHNO7JP/DSC_6257.JPG Works 2015-2011 - tufts https://www.fionadavies.com.au/works2015/asper1234 monthly 0.5 2021-04-15 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630400971223-AE7HVZ36KXBT9CZOVUNA/Blood+onSilk+As+per+Instructions+at+griffith+021.JPG Works 2015-2011 - asper1234 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1630400586421-JCOT2PF06OA7TDECZT82/Blood+onSilk+As+per+Instructions+at+griffith+012.JPG Works 2015-2011 - asper1234 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/works2015/silkmuseum monthly 0.5 2021-04-15 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619873772571-H68WSVK53ATMPEHMYYQ0/Day-3-Tbilisi-P300--%2841%29.jpg Works 2015-2011 - silkmuseum https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632227559397-S2CBQ7JJZKUKXX0KCLNC/Day-3-Tbilisi-D3200--%283%29.jpg Works 2015-2011 - silkmuseum - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619874684651-WZFLNPMQ7TR545XKJ696/Day-3-Tbilisi-D3200--%2829%29.jpg Works 2015-2011 - silkmuseum https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619873846764-R7ZMEICTEIOB9B82VTBU/Day-3-Tbilisi-D3200--%2884%29.jpg Works 2015-2011 - silkmuseum https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619874018269-GUX1OG9V1CALUV43X7K8/Day-3-Tbilisi-P300--%2884%29.jpg Works 2015-2011 - silkmuseum https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619917213819-B2TDPKO9EKDOL7ZDVGWG/blood+passport+2+state+silk+museum++%282%29.jpg Works 2015-2011 - silkmuseum https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/e00f93ad-6e12-4b46-ad9f-75024f1976de/state+silk+museum+no+1.+.JPG Works 2015-2011 - silkmuseum https://www.fionadavies.com.au/works2015/cac monthly 0.5 2021-04-15 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618489722958-NDK44A8KVW17ZF54LG2J/FionaDavies-033.jpg Works 2015-2011 - cac https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618491124443-P49WUOEXRXHTXU40TJEH/D3200+June+2014+248.JPG Works 2015-2011 - cac - Blood on Silk: Field of Flowers, 2013, canvas, paint, fabrics and found objects, each plinth 60 x 80 x70 cm(h) and painted wall section size variable. This work consists of thirty museum type display units on plinths or padded ottomans. On each will sit three or more hand sewing baskets re-lined with beaded floral fabrics, embroidered flowers, oya or gold paper flowers over the original red, pink or orange linings of the baskets. This work references cultural material brought to the UK by Sir Aurel Stein and his archaeological expeditions, specifically from Dunhuang and Miran in China. Early textiles including panels of flowers from Buddhist temple canopies were loaned to the British Museum, British Library, the India Office and the V and A. When in London I was able to research some of the textile material removed by Stein and now in the Victoria and Albert Museum collection including the silk flowers in the photograph below. It is though that originally they formed canopies or fields of flowers within Buddhist temples along the silk route. The textile collection is being moved to a new building and is not accessible at the moment. The sewing baskets formerly held the tools of trade. The relatively low height of the plinths/ ottomans focuses the viewer’s attention onto the bottom or the interior of the basket. These interiors have been relined with flowers. http://en.wikipedia.org/wiki/Aurel_Stein https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618490371658-LKL3HALNPSIOBN6WQEKX/Field+of+Flowers+detail+1.JPG Works 2015-2011 - cac https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618491380503-3TY8TSLIE2ZJQWK6M0X2/FionaDavies-034.jpg Works 2015-2011 - cac https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619354309270-GSI9IAS9MG5SWL3OHBYN/FionaDavies-045.jpg Works 2015-2011 - cac https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618492680200-D0KLYCG65YSAFRM9H5JX/FionaDavies-014.jpg Works 2015-2011 - cac https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619354401187-ODY9L9F4UVFAGB0OXJ8S/FionaDavies-024.jpg Works 2015-2011 - cac https://www.fionadavies.com.au/works2015/artabout monthly 0.5 2021-04-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617923374374-WCTN8EG0J0034ON1A8TU/blood+ons+silk+blood+types+and+art+and+about+009+%282%29.JPG Works 2015-2011 - artabout https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617923427417-KPU7XVVPJRLAAQUPO80E/blood+ons+silk+blood+types+and+art+and+about+010+%282%29.JPG Works 2015-2011 - artabout https://www.fionadavies.com.au/works2015/badgirls monthly 0.5 2021-04-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617873424639-DK2EMXC4W5ALRI0YT26O/ccas.jpg Works 2015-2011 - badgirls - Canberra Contemporary Art Space, ACT, Australia Bad Girls ( 20 witness 1000) was curated by Anni Doyle Wawrzynczak. Included in the exhibition was my work Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies. This exhibition celebrated the more than one thousand women artists who had exhibited at Canberra Contemporary Artspace since its opening as the Bitumen River Gallery in Manuka in the ruins of the former St Christopher school bus shelter. Now the CCAS is recognised as a leading contemporary art space in Australia. The Curator in her catalogue essay wrote that ‘Bad Girls are everywhere …. Bad Girls are our heroines. In this exhibition we celebrate their journey in art and, through their journey, the changing face of feminist concerns over three decades.’ My work of three ironing board, shapes of domestic amour made of zinc gauze as used in meat safes, and buttoned with a harsh surface of discarded shirt buttons was selected for this exhibition of witnessing. The title of the work itself is a witness to those who undertook the work of collecting the buttons from the detritus of unwanted clothing in two opportunity shops Picton Vinnies and Tahmoor Lifeline in the time from July to December in 1999. The buttons were salvaged by my mother, June Bonnie Davies. The title is Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies J.B. The other nineteen artists who witnessed the one thousand were Alison Alder, Jane Barney, Vivienne Binns, Rachel Bowak, Jacqueline Bradley, Julie Bradley, Mariana del Castillo, Julia Church, Anna Eggert, Chery lynn Holmes, Catriona Holyoake, Stephanie Jones, Deborah Kelly, Mandy Martin, eX de Medici, Brenda Runnegar, Bronwen Sandland, Erica Secombe and Ruth Waller. https://www.fionadavies.com.au/works2015/death3 monthly 0.5 2021-04-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617857950540-W0X95UL7AUTYBB8QTG39/20120704-death+documentation16.jpg Works 2015-2011 - death3 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617857286412-XSHC0CZI7DSUWNK29GO9/20120704-death_small1.jpg Works 2015-2011 - death3 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617857480315-O8EWH8M129WWR3YHLM3I/20120704-death+documentation10.jpg Works 2015-2011 - death3 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617857801419-7HLRWOTHOK47VO60KNEY/20120704-death+documentation5.jpg Works 2015-2011 - death3 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617858109898-RQOZFDPZ3VM9S0FSV47R/01+Spring+Hurlbut_+Airborne+still_2008.jpg Works 2015-2011 - death3 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617858482185-MR3KD4KSD7ZBX4MGYQHA/20120704-death+documentation7.jpg Works 2015-2011 - death3 https://www.fionadavies.com.au/works2015/farnham monthly 0.5 2021-04-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617779960754-ND9I8B9R58O4T60ZQPWK/Blood+on+Silk+Farnham+21.jpg Works 2015-2011 - farnham/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617780035706-GFGHVKGAGF9NHOZ8C92L/Blood+on+Silk+Farnahm+6+.jpg Works 2015-2011 - farnham/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617780170653-4PFZOKQ6175OCUCIZ2NI/Blood+on+Silk+Farnham+18.jpg Works 2015-2011 - farnham/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617780268844-AGI7043NM8N39Y55SQ7L/blood+on+Silk++Farnham+15.jpg Works 2015-2011 - farnham/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620564683100-MO4B1M6JOBVA1D27BBH3/marked+up+plan+farnham+.jpg Works 2015-2011 - farnham/ https://www.fionadavies.com.au/works2015/2013/surgery monthly 0.5 2021-03-30 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5675ca34-12a1-4257-9e32-77e07fbe5c0c/Blood+on+Silk+Surgery+097.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617085938404-L3P92C0QXL17MXR221P3/blood-on-silk-maquarie-24.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617085983824-9NT0CL4B6PXOXN0IWYO6/blood-on-silk-maquarie-23.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086011741-AOAC3Y54L2ZV58YJSTWM/blood-on-silk-maquarie-25.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086040324-QXPM1JX9K1X1T7Y9CNUE/blood-on-silk-maquarie-27.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086068181-OCN1L4HJFXA9JJXY1NQA/blood-on-silk-maquarie-28.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086096894-K15KQNPVQ9SYSURP76Z5/blood-on-silk-maquarie-29.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086133565-FHKJNXIFSZVWT8NJ46DC/blood-on-silk-maquarie-17.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086160781-DPNHGX93Q4CMPUZCWU4P/blood-on-silk-maquarie-18.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086199022-ADOFPQYJ707EECR2JNRC/blood-on-silk-maquarie-19.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086231437-Y5VUGB9E5ZHIVOUS8LSB/blood-on-silk-maquarie-21.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617086254338-CNPYAH513G4F6464TQRP/blood-on-silk-maquarie-22.jpg https://www.fionadavies.com.au/works2015/west monthly 0.5 2021-03-21 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616326019425-4ACPKSBHMFXXWMSA1GS8/20151109-untitled-35.jpg Works 2015-2011 - west https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616325189271-KVOZ0XFT511MZXNU2WKH/20151109-untitled-28.jpg Works 2015-2011 - west https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618538651243-O9PZDDHYV722R16JLZVA/IMG_5573+%28002%29.jpg Works 2015-2011 - west https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616325238289-KC235EXAWZK8925OI4YD/20151109-untitled-48.jpg Works 2015-2011 - west - Blood on Silk: Magenta No Exit 2016, canvas, paint wood and satin ribbon, 285 x 285 (h)cm Two additional works were made to complete the series of three Instructional signs aim to provide to clear unambiguous delivery of information independent of the context of the location. Jean Paul Satre's play Huis Clos has been translated into the English term No Exit; however the original French can also mean all doors are closed, there is no way out, not just that this specific location is not an exit. This tension between the specific and the general informs this work locating it in the tension or crisis of the Intensive care unit where between death as a way out and the reluctance to accept death is sometimes immediately inevitable, are overlaid with the claustrophobia where all doors are closed. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616325916019-Y5IC6CFXYFY734SYPJKT/20151109-untitled-60.jpg Works 2015-2011 - west https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616326096951-9SCH6ZJ7P6R30DBG3PDO/20151109-untitled-67.jpg Works 2015-2011 - west - Blood on Silk: DNR 2016, canvas, paint wood and satin ribbon, 285 x 285 (h)cm DNR is shorthand for do not resuscitate. This can be a crucial medical instruction if the patient or person experiences a situation where their heart stops beating or they stop breathing.Issued by a doctor It instructs the attending medical staff not to attempt CPR, cardiopulmonary resuscitation in that situation. The instruction is generally written after consultation with the patient and their carers/family. The process of administering CPR is brutal and can severely damage a frail aged body. The issues of DNR’s being issued on mass without adequate consultation was uncovered by a study written by the UK Care Quality Commission during the Covid-19 Pandemic. The report found that more than 500 people in aged care were put on do-not-resuscitate orders without their consent. In one nursing home it was reported that all patients over the age of eighty who had been diagnosed with dementia were issued with a DNR instruction without either their or their families consent. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616327549164-SMPPUGA7DJGYRLZTT526/20151109-untitled-87.jpg Works 2015-2011 - west https://www.fionadavies.com.au/works2015/mrag monthly 0.5 2021-03-21 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616328189284-BNCYU5A6Q7QT4U16FFNA/Blood+alcohol+on-silk-bloodbags-004_edited-3.gif Works 2015-2011 - mrag https://www.fionadavies.com.au/works2015/caravansarai2012 monthly 0.5 2021-05-09 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/a5193d30-1f14-4942-b5a8-016c76e1064c/Caravansarai+Logo.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7f2dde8f-4d78-49b4-9a80-7cedd35f7ca8/DSC_4134.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/6260fc38-fe52-42a2-9d25-67afb5ab59bf/caravan+sarai+invite+.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632824943168-6JRNZ5HU9ZCHW5YZGK1E/Istanbul+hospital+doorways+negative+.jpg https://www.fionadavies.com.au/works2015/corrigan monthly 0.5 2021-03-20 https://www.fionadavies.com.au/works2015/kandos monthly 0.5 2021-04-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617784284905-LVY7L7SUR4PE8IY9GTJZ/web+Blood+on+Silk+Kandos+329.jpg Works 2015-2011 - kandos https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617784336982-4SE8U7RSQ36Q5BJEJE9M/Blood+on+Silk+Kandos+313.JPG Works 2015-2011 - kandos https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1633605181086-5SA53P20PJBGL8NGQWKU/Blood+on+Silk+Kandos+310.JPG Works 2015-2011 - kandos https://www.fionadavies.com.au/works2015/works2011 monthly 0.5 2021-02-16 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/62efdb1c-cd74-4b21-9dad-c9d5310459f5/bloodsilk2_19.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/62efdb1c-cd74-4b21-9dad-c9d5310459f5/bloodsilk2_19.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/3a3ff4c2-360c-4de1-8076-74fd26b1e95c/Blood+on+Silk+1+2012+No+6.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5d175c62-4c2a-45de-800c-b18be996a876/Blood+on+Silk+1+2012++No+4.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b9fae9ee-a56e-4b6b-b680-6516e76dff47/Blood+on+Silk+2+2012++no+5.jpg https://www.fionadavies.com.au/works2015/2013 monthly 0.5 2021-03-30 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617747919216-RNO19FSS6LACN02A8TIW/%2Fworks%2Fbadgirls%2F Works 2015-2011 - 2013 - Canberra Contemporary Art Space, ACT, Australia Bad Girls ( 20 witness 1000) was curated by Anni Doyle Wawrzynczak . Included in the exhibition was my work Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies. This exhibition celebrated the more than one thousand women artists who had exhibited at Canberra Contemporary Artspace since its opening as the Bitumen River Gallery in Manuka in the ruins of the former St Christopher school bus shelter. Now the CCAS is recognised as a leading contemporary art space in Australia. The Curator in her catalogue essay wrote that ‘Bad Girls are everywhere …. Bad Girls are our heroines. In this exhibition we celebrate their journey in art and, through their journey, the changing face of feminist concerns over three decades.’ My work of three ironing board, shapes of domestic amour made of zinc gauze as used in meat safes, and buttoned with a harsh surface of discarded shirt buttons was selected for this exhibition of witnessing. The title of the work itself is a witness to those who undertook the work on collecting the buttons from the detritus of unwanted clothing in two opportunity shops Picton Vinnies and Tahmoor Lifeline in the time from July to December in 1999. The buttons were salvaged by my Mother, June Bonnie Davies. The title is Memorial/Australia, Picton-Vinnies, Tahmoor-Lifeline, Jul - Dec 1999 Coll Davies J.B. The other nineteen artists who witnessed the one thousand were Alison Alder, Jane Barney, Vivienne Binns, Rachel Bowak, Jacqueline Bradley, Julie Bradley, Mariana del Castillo, Julia Church, Anna Eggert, Cherylynn Holmes, Catriona Holyoake, Stephanie Jones, Deborah Kelly, Mandy Martin, eX de Medici, Brenda Runnegar, Bronwen Sandland, Erica Secombe and Ruth Waller. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604499285025-FYHBQ0KVZSM25X7GY0N1/IMG_5719.jpg Works 2015-2011 - 2013 - Artspace, Sydney, Australia An survey exhibition of the work of Ian Milliss, Notes on the Works included my work As per Instructions I. In his multi part exhibition Notes on the Works at Artspace in Sydney, the artist Ian Milliss included a series of instructional works which had been made and remade by others over the years of his practice. The Instructions to me for this work were relatively simple - I was to use strips of canvas, 200mm or so wide and what ever length I wanted, make them whatever colour I wanted and nail the strips to the wall in whatever way I wanted. My work As per Instructions I, is a visualisation within the instruction I was given of the typical pattern formed by eight drops of blood falling from a height of one metre. in this visualisation the eight drops of blood have slid down the wall and onto the floor. The work as well has slid down the wall and onto the floor. The work has not followed the instructions and it was always very likely that it wouldn’t. I didn’t realise until well after the opening that all of the other artists following instructions were members of an organisation called The Sydney Non Objective group or SNO. My work is a visualisation of a real world pattern, a visualisation of the behaviour of a real world material as it moves in a particular way. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600387568333-NNASN3MSKL924USTRF2P/Memorial+Time+of+Death+edited+suite+of+images+015.jpg Works 2015-2011 - 2013 - Maitland Regional Art Gallery, Maitland, NSW, Australia A group exhibition titled Dark Edges of the Collection included my 2008 video work Memorial/Time of Death The curator, Cheryl Farell wrote of this work in the catalogue that .. in the video work Memorial/Time of Death, flowers so often a witness of death, have been filmed over a period of time, slowly deteriorating. Projected onto a dark wall this work becomes emotionally potent as the edges of the iamges become ambiguous, conveying the concept that ‘the time of death” is fluid and there is often no one particular moment in which we can determine the moment of absence.s work Other artists included in this exhibition include Davida Allen, James Gleeson, Mike Parr, Anne Ferran, Laith McGregor, Nell, Adrian Lockhardt, Jason Brooks, Chris O’Doherty, Louise Hearman, Andy Devine, and Francisco Goya. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626920854336-U0PJIX9Q2N7EZY0XU7SD/Scan350+%282%29.jpg Works 2015-2011 - 2013 - Maitland Regional Art Gallery, Maitland Australia I curated the group exhibition Op Shop over all of the galleries of the Maitland Regional Art Gallery and included a number of my own works that reflected my practice of op shopping. The other artists selected for the exhibition component were Nicole Barakat, Cath Bowen, Fiona Davies, Sarah Goffman, Fiona Hall, Donna Marcus, Kiri Morcombe, Luke Roberts, Surabhi Saraf, Louise Saxton, David Sequeira, Maeve Woods, The Modified Toy Orchestra, Toydeath, Raqs Media Collective and Lex Rogers. Op Shop also called The Opportunity Shop was a whole of gallery exhibition and suite of public programs to celebrate the fourth birthday of the reopened, extended Maitland Regional Gallery. The number and quality of op shops in the Maitland area is renown. Most of the artists selected for this exhibition use acquiring materials through op shops as part of their art practice. Others however provide a counterpoint to the economic system of capitalism and its reliance on consumption, arbitrary determination of value and production of excess waste. For the gallery the exhibition was described by the Maitland Gallery Director Joe Eisenberg as ‘ providing ‘… a taste of the creativity, delight and commentary that can emerge from objects, items and all matter found, sold, available and enticing in op shops’ as well as providing another chapter in the art galleries’ Maitland Stories’:projects that invite engagement with different aspects of life in Maitland past and present.” One of the public programmes organised for this exhibition was around the idea of having a passport that was stamped at each of the nine participating community Op Shops. The limited edition stamped images could be collected while the visitor engaged with a range of organisations from St Vinnies to The Salvation Army and on to the Red Cross. The following artists designed the images on which the stamps were based. - Anna Buxton Soldal, Michael Bell, Nell, Melissa So, Carlo Delos Santos, Clare Hodgins, Mitch Storck, Ahn Wells, Ben Mitchell and Martin Wilson. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617600731920-MRZQ7GEX6I2ZM634SW9N/Davies_-Bleeding-Out5.jpg Works 2015-2011 - 2013 - Macquarie University Art Gallery, Sydney, Australia For the group exhibition UnBound, the co curators John Potts and Rhonda Davis selected my work Collaboration: starting with twenty three units of blood. ‘Like the travelogue of Twentysix Gasoline Stations (produced in 1963 by Ed Ruscha) this book uses a combination of old and new means of interaction to track a journey. The sobering question examined in text and image is what happens to a collaborative partnership when one party dies. Physical markers of the collaboration punctuate the journey in a similar manner to the photographs of service stations in Ruscha’s book, while the text allows a nuanced reflection to develop.’ An essay by Ann Finnegan explores the question of the impact of a death on a collaborative partnership. Click on the image to find the link to the next page with this text and more images of the book as book as paper and as Ipad. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620218857141-B709MVZU75EJLZ8WS72Q/DSC_3602.JPG Works 2015-2011 - 2013 - Cementa 13 Cane, 2012 video was commissioned by Cementa as a site specific work in the Kandos Museum local history section. The art blog, The Art Life partnered with Cementa 13 for this inaugural four day event in 2013. The Art Life described Cementa 13 as ‘… a biennial contemporary arts festival taking place in the post-industrial town of Kandos NSW. Over forty artists will exhibit video, installation, sound, 2d and 3d artworks in venues and locations across the town. Venues will include shop fronts, vacant lots, a disused school, scout hall, local pub, the local museum, golf-course, people’s homes, the surrounding bushlands, etc. The work will address the identity, history, and current social, environmental and economic context of the town’. In the video, Cane, individuals tell their stories supported by a sound track of scales being practised on an out of tune piano. The visual imagery is a a sequence of the palms of the hands of those sharing their stories. Each palm is the site on which a form of school punishment known as the cuts was practised. the student being punished held out thier hand pal up and was hit with a cane a specified number of times depending on the required severity of punishment. The stories are of applied justice, accepted, rejected and/or still resented. Over several weeks I stood outside Kandos Projects on the main street of Kandos asking the passers by if they had got the cuts at school and if they had if I could photograph their palm. Some told a more detailed story of that time on video. Sophia Kouyoumdjian wrote in a review of Cementa 13 in issue 143 of Realtime that - ‘Another work boldly entered the emotionally charged realm of memorialisation within a community context. In her video work Cane (2012), Fiona Davies asked Kandos locals to reflect on school punishment. With the video frame tightly focused on each person's palm as they recounted punishment by cane in conversation with the artist, we see the hand open, not waiting for punishment but as a marker of memory. Placed beautifully in the Kandos Museum (an Instagrammers heaven), the work sits well amongst a bountiful archive of Kandos’ history. The responses from the participants to their canings range from ‘deserved’ to 'resented' and the work brings to light what is mostly amiss in such museological spaces—the personal voice informing the collection's significance.’ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609671788196-GV7N7QTUEZ4S145DK0JX/Blood+on+Silk+Turn+To+turn+Away+action++%281%29.JPG Works 2015-2011 - 2013 - Caravansarai Collective, Istanbul, Turkey In a parallel event to the Istanbul Biennale Persembe Pazari Projects, Final Cut was curated by Julie Upmeyer and Anne Weshinskey. The works Blood on Silk: Turn to/turn away and Blood on Silk; Trade were selected for this final exhibition of the works by the collective. Other artists included in this exhibition were Pat Arnao, Anita Bacic, Richard Bartle, Suada Demirovic, Joan Edlis, Korhan Erel, Daisy Frossard, Arni Gudmundsson, Sibel Horada, Julie Upmeyer and Anne Weshinskey. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609751121058-25D8N4EJESJLR1AD833O/blood-on-silk-maquarie-16.jpg Works 2015-2011 - 2013 - Foyer of the Faculty of Science Building Macquarie University, Sydney, Australia The work Blood on Silk: Surgery is installed in the foyer of the Science Building at Macquarie University. It is surrounded by a number of artworks from the University Collection. The reflective surface o the satin ribbon that was used to make eleven of the panels acts as a photonic device reacting to the incident light thrown onto the work from both the left and right hand sides. Click on the image to the left for more details and for the sequence of images that show the slow reveal of the work as the viewer progresses from the entry door to the stairs, around the midway turn then up to the top landing and then around to the astronomy department close to the head height sight line of the viewer. https://www.fionadavies.com.au/works2015/2013/turnto monthly 0.5 2021-03-30 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617098623819-YN7E4GOB0GWMBX1AWHAC/DSC_4133.JPG Works 2015-2011 - turnto https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617098695208-N2HDNDSZFHAD8OW1HGIJ/DSC_4101.JPG Works 2015-2011 - turnto https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617098804944-1LTAUTAQXHGECE1OPP65/DSC_4104.JPG Works 2015-2011 - turnto https://www.fionadavies.com.au/works2015/2013/asper monthly 0.5 2021-03-30 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604496817876-C1DEGKTC6LSVOXWFROWX/DSCN9492.JPG Works 2015-2011 - asper https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1604498514588-035WO3P3ERF3NPYTLJYG/DSCN9495.JPG Works 2015-2011 - asper https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1609671471413-YCT9ZU6SS3FG11FKR1BL/DSCN9493.JPG Works 2015-2011 - asper https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617097893614-R0FDBHEKN668I7ECW5GB/Fiona-Davies-for-Ian-Milliss-2.jpg Works 2015-2011 - asper https://www.fionadavies.com.au/works2015/2012 monthly 0.5 2021-03-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617779596736-TRLCE00N1P2M5F2AXOX3/blood+on+Silk+farnham+.jpg Works 2015-2011 - 2012 - James Hockey Gallery, University of the Creative Arts, Farnham, U.K. Blood on Silk: Farnham, 2010-2012, Silk paper, video and found objects, Dimensions variable In the speech to open this exhibition Professor Simon Olding of the University of the Creative Arts in Farnham said Here, in the James Hockey Gallery, Fiona Davies has made a deeply contemplative, but also in its serene and powerfully considered way, rousing and challenging work. It is both rooted in this one place and complex in its multiple metaphors. These are personal and broadly human, subjective as well as elemental. Our entry into this major work feels like a private journey, an unfolding, wrapping and wafting; a breathing of life and loss. It is an extraordinary work both for its repetitive and mnemomic associations and its strength of sheen, its tearings and gossamered power; its whiteness and the mark of blood adjacent to the white papered hanging. … Fiona Davies has worked with the most precious material – the thoughts of her father’s death – and considered its meanings in the light of the ideas of blood sampling and the measurement of blood properties. This is both science and elegy. Blood on Silk, a work of keening, has become, through reflective care and visionary making, the means of transformation of place as well as concept; of respect and challenge; and a means of driving forward a new language for textiles in the public gallery realm. It is an internationalist and progressive collaboration. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1605170304650-S545OMJR0LXDFJE2W1D2/Memorial+Time+of+Death+2+.jpg Works 2015-2011 - 2012 - Maitland Regional Art Gallery, Maitland, NSW Australia Memorial / Time of Death No. 3, 2008, print on paper, 90 x 110 (h) cm In a group exhibition that was the brain child of the art philanthropist Pat Corrigan, thirty two artists selected which of their own works were to be part of the exhibition Inspiring Artists: Recipients of the Pat Corrigan Artists’ Grant. The intention of the exhibition was to show the contemporary art of artists who ‘received the encouragement, validation and the grant dollars early in their careers’. The dollar value of the artists grant was initially $200 and later was increased to $500. The other artists in the exhibition were Brett Alexander, Michelle Brodie, Helga Groves, Juli Haas, Peter Hennessey, Peter Pinson, Steven Alderton, Anne Ferran, Patricia Piccinini, Nike Savvas, Louise Paramor, Kate Shaw, Eugenia Raskopoulos, Lionel Bawden, Barbara Licha, Donwang Fan, Cressida Goddard, Nell, Braddon Snape, Claudia Damichi, David Jolly, Yvonne Kendall, Belinda Fax, Karlee Rawkins, Claire Healy and Sean Cordeiro, John Nicholson, Sherrie Knipe, Mari Hirata, Mandana Mapar and Danielle Thompson. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617856020531-MLOET3HSQ73T19JO4TRR/Death+3+invite.jpg Works 2015-2011 - 2012 - Parramatta Artists Studios, Parramatta, Sydney Australia Death 3, I don’t Think we’re in Kansas Anymore was the third and final exhibition at Parramatta Artist Studios in this series thinking about death. As Ann Finnegan wrote in her catalogue essay; This, the final exhibition of a trilogy… startles with its premise of ‘relationships with a body, the body of the deceased. the very work relationship conjures closeness, intimacy, live negotiations entered into, engagements of live bodies among the land of the living. Indeed the work relationships enters into a certain ongoing-ness. Therefore it’s strange , even arresting to think of a relationship with the dead body. ‘A body was found.. we indicate a corpse. Consort with the dead, you breach a taboo. For what is the body, the body found dead but a kind of material remainder, in Derrida’s terms’ a leftover’, the rest, the spirit departed. A body, ‘ a body was found’. is something abject, tinged with horror, requiring disposal, separation. ’ And as Carrie Miller wrote in her July 20, 2012 article in the online publication The Art Life; A number of interesting local artists, including Marian Abboud, David Capra and Abdullah Syed, confront the inevitable in a variety of ways. David Capra’s video works, for example, involve the artist performing acts of Intercession on behalf of the departed, including speaking in tongues, banner waving, praying, and dancing badly, all in an outfit that includes tight white tights. These series of actions are performed both at a public pool alongside bathers and next to an Anzac statue in spiritual concert with the war hero. In typical Capra fashion, what sounds like bad camp or parody is in fact a sincere, entirely human, gesture of care that embodies the awkwardly comic nature of our existence and the simultaneous futile yet necessary drive to give it meaning, even after it’s all over. The artists selected for this exhibition were Marian Abboud, Roohi S. Ahmed (Pakistan/Sydney), David Capra, Fiona Davies, Spring Hurlbut (Canada) and Abdullah M.J. Syed (Pakistan/Sydney). https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616283700717-UAMXYOR2PLQV13LC5RA5/istanbul+6th+june+2012+001.JPG Works 2015-2011 - 2012 - Caravansai, Istanbul, Turkey Persembe Pazari Projects, https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617922200984-RFKPB1IKCK5CI62DLNMN/blood+ons+silk+blood+types+and+art+and+about+013.JPG Works 2015-2011 - 2012 - Sydney Art and About 2012 Festival Program City of Sydney Australia Cells, Blood and Neurons Within You and Without You at Culture at Work, Pyrmont, Sydney Australia The project was described in the catalogue as This collaborative project features the work of artists Sherryl Ryan, Fiona Davies and Melody Lord. It showcases research output by the artists, created through collaborating with scientists working with breast cancer, blood and neurons. The exhibition includes projections linked to a smartphone app. The theme of Art and About for 2012 was “ In Colour” an exploration of what colour brings to our life in the city. The Creative Director Gill Minervini wrote in the program guide that Our projects and artists this year really aim to colour outside the lines, to take art of all mediums into new and unusual places. To let us think of the everyday in new ways and encourage us to colour our worlds differently. The works on rice paper stuck to the corrugated surface of the mini orb lining sheets were the residue of the making of a series of videos on blood types. In these videos the letters and symbols of each blood type were painted in red ink onto a bed of wallpaper paste. over the next five or six minutes the bleeding out into the bed of paste was recorded in a video. The videos of the blood types were shown projected onto the adjacent silk paper curtain during the night hours in a cycle of each blood type bleeding out forming branches of the means of distribution of a liquid in a liquid. https://www.fionadavies.com.au/works2015/2015 monthly 0.5 2021-03-30 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1600482631707-X5YGIAP7LGF01EZOQDNT/Blood+alcohol+on-silk-bloodbags-004_edited-3.gif Works 2015-2011 - 2015 - The piano has been drinking not me Maitland Regional Art Gallery, Maitland, NSW, Australia Blood on Silk: Blood Alcohol Content 2014, 30 x 20 (h) cm digital print Prior to his retirement in 2015 Maitland’s long time Director, Joe Eisenberg organised what he described as one last begging exhibition of works on paper that were to be donated to add to the gallery’s collection. Prior to his retirement in 2015 Maitland’s long time Director, Joe Eisenberg organised what he described as one last begging exhibition of works on paper that were to be donated to add to the gallery’s collection. In the group exhibition The piano has been drinking not me a total of just under one hundred and seventy Australian artists responded to this idea. My work Blood on Silk: Blood Alcohol Content 2014, 30 x 20 (h) cm digital print was my response to Joe’s begging lette My work Blood on Silk: Blood Alcohol Content 2014, 30 x 20 (h) cm digital print was my response to Joe’s begging letter. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617180530181-SSDYC89QSZ04E61H0WG0/Blood%2Bon%2BSilk%2BMagenta%2BICU%2BBook%2BImages%2B024.jpg Works 2015-2011 - 2015 - West Gallery, Hazelbrook, NSW Australia This work Blood on Silk: Magenta, 2015, 285 x 285 cm, ribbon, paint and canvas was selected for the group exhibition Unfolded curated by Beata Geyer at West Gallery in Hazelbrook. In this work the codified pattern of eight drops of blood falling from one metre onto a hard surface is further coded into a weaving pattern, using satin ribbons and solid canvas. Through variations of the dyed colour magenta and the reflective properties of the satin weave in the ribbon, the work responds to the position of the viewer relative to the angle of light as a photonic device. In addition the location of the work in the gallery space exposes the sideways view of the work to the casual passing viewer in the corridor. Magenta as a name for a colour has been linked with war and bloodshed since the name of the aniline dyestuff Fuchsine was changed in 1859 to magenta to celebrate the French victory at the battle of Magenta in northern Italy. Other artists selected for this exhibition were Louise Blyton, Sue Callanan, Adrian Clement, Shavaurn Hanson, Joel Lambeth, Tom Loveday, Ian Milliss, Tobias Richardson, Margaret Roberts, Hayley West, Caroline Wilde and Kayo Yokoyama and International Studio. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607764783092-5YR00NJWM0T16TI0YR0G/D3200+Kandos+April+2015+002.JPG Works 2015-2011 - 2015 - Cementa 15, a four day biennial festival held in the former cement works town of Kandos in rural NSW. My work Blood on Silk: Price Taker / Price Maker was installed in the Dabee Nursery and Bric a Brac store on the eastern edge of town. In the context of the monetisation of what could be considered the un-monetisable and by contesting the preference for donation of blood for transfusion, the installation Blood on Silk: Price Taker Price Maker offers a provocative speculation about the economies, governance and transfer of risks and responsibilities in the supply of blood products and accessories through the immersive experience of an apparently live auction of blood. Our access to blood, a universal and seemingly abundant material, is constrained in this installation within an unfamiliar and disturbing economic context, which prompts the viewer to question the ethical, social, and medical frameworks of blood distribution and purchasing. From an article written by Gina Fairley for Arts Hub in 2015 titled ‘Cementa15 - a regional festival in pictures Twenty good reasons to put Cementa on your radar - a festival that happens every two years in regional NSW was the opinion that .. One of the more powerful works in Cementa15 was Fiona Davies’ work from her Blood on Silk series. Stacked in your typical tin shed at the Dabee Road Nursery, this installation combined a sound element of an auction of medical supplies - blood and plasma - what Davies said is not dissimilar to an agricultural auction. The list of other artists in Cementa 15 was Alan Schacher, Alana Hunt Aleshia Lonsdale, Alex Wisser, Alexander Jackson-Wyatt & Paulina Semkowicz, Beata Geyer & James Culkin, Bill Moseley, Blak Douglas, Bruce Green, Christine McMillan, Dan Kojta, Dani Marti, Daniel Mudie Cunningham, Djon Mundine, Elizabeth Day, Eugenia Raskopoulos, Fiona Davies, Fiona MacDonald, Fleur MacDonald, Genevieve Carroll, George Shaw, Georgina Pollard, Heidi Lefebvre, Ian Milliss, Jason Wing, Jenny Brown, Jesse Oliveri, John Conomos, Josh Harle, Juilee Pryor, Justene Williams, Karen Golland, Karla Dickens, Kim V. Goldsmith, Kurt Sorensen, Leahlani Johnson, Mark Booth, Mark Brown & David Standfield, melanie e. khava, Mr & Mrs Brown, Nicole Barakat, Nola Farman, Robyn Backen, Sarah Goffman, Sean O’Keeffe, Starrs & Cmielewski, Tina Havelock, Stevens Wade Marynowsky, Williams River Valley Artists’ Project (WRVAP), Yiorgos Zafiriou, and Yvette Hamilton https://www.fionadavies.com.au/works2015/2014 monthly 0.5 2021-01-02 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617507203223-Q5SVJD8NHYMZPP2SQ4VB/turn-to-turan-away.jpg Works 2015-2011 - 2014 - Campbelltown Arts Centre, Campbelltown, Sydney, Australia For this solo survey show six of the major works from the first phase of the Blood on Silk project were shown at the Campbelltown Arts Centre under the title Blood on Silk. Two were conflated to present as one work. The works were Blood on Silk: Turn to/turn away Blood on Silk: As per Instructions 1,2 3 and 4 2013-2014, canvas, paint and nails, Blood on Silk: Site of Production 2014 Video 2.20 mins. As installed at Campbelltown Arts Centre projected onto a black wall Blood on Silk: Field of Flowers, 2013, canvas, paint, fabrics and found objects, each plinth 60 x 80 x70 cm(h) and painted wall section size variable. Blood on Silk: Campbelltown conflated with Blood on Silk: Trade 2011, 2012 and 2013, 2011-2014, silk paper and video, dimensions variable ‘Blood on Silk is a dynamic and thought provoking exhibition by Australian artist Fiona Davies. Drawing on research conducted by scientists who planned to create silk microchips used to measure blood cells still within the body, Davies responds with her own personal quest to understand the material, cultural, and personal processes related to surveillance, science, human rights, and death.’ extract from Invitation to the opening of this exhibition https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619524905522-U507PU6R3J7DRILNJO2E/Blood+onSilk+As+per+Instructions+at+griffith+063+%282%29.JPG Works 2015-2011 - 2014 - The Whitebox, Griffith University Gallery, Gold Coast Campus, Queensland, Australia Installed at Artspace Sydney in late 2013, the work Blood on Silk: As per instructions I was exhibited in the exhibition, Notes on the Work a survey exhibition by Ian Milliss. Here at Whitebox it was joined by As per instructions 2, 3 and 4. As part of Milliss’ open ended practice, Ian had given instructions to other artists for the production of artworks, referencing works he made in the early 1970s. These instructions were – use strips of fabric 200 to 250mm wide each painted a single colour and then nail to the wall as you want The three later works Blood on Silk: As per Instructions 2,3 and 4 were made in 2014 again referencing the code of the barber’s pole and its subsequent distortion or mutation. The code utilised in the first of this series is the pattern made by eight drops of blood falling from one metre. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617507606495-86E6B29L05KXHR3KOOAF/Day+3+Tbilisi+P300++%2813%29.JPG Works 2015-2011 - 2014 - The State Silk Museum, Tbilisi, Georgia Blood on Silk: State Silk Museum, 2014, installation, silk paper, rice paper found objects, paint, stickers, video and thread, dimensions variable The State Silk Museum founded by the natural scientist Nikolai Shavrov is one of the oldest among the world’s silk museums. The museum is located in a building, which was specially built for the Caucasian Sericulture Station in 1887 by Polish architect Alexander Shimkevich. The building has a status of a cultural heritage monument at present. The museum displays quite a versatile and multinational exposition. The collection features objects from 63 countries. Unlike other silk museums (mostly displaying only silk collections) the showing offers everything about silk and sericulture: a unique collection of cocoons (5 000 cocoons of different origins and variations); silkworm biology; special containers for silkworms and eggs (approximately 200 containers); a collection of textile artisanally produced in the Caucasus (19th century); a collection of laces produced in Germany (approximately 400 patterns); a collection of natural and chemical dyes with colored threads (dyes from 16 countries); a butterfly collection (314 butterflies of 161 species); a collection connected with a mulberry tree and etc. There is a unique library in the museum, keeping rare books dating back to the 18th-19th centuries, these books about natural sciences are in Russian, English, German, French, Italian, Rumanian, Hungarian, Chinese, Japanese, Persian, Arabian languages. Museum and library furniture made according to sketches of the architect A. Shimkevitch have preserved their authentic image until today. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617510072352-A59NMZVMOJWRNEJD25DK/2014-10-23+00.04.43.jpg Works 2015-2011 - 2014 - Biomedical Silk Lab at Tufts University, Boston, USA Blood on Silk: Tufts Analytical Lab, 2014, silk paper and found objects size variable. was installedin the silk analytical lab for two and a half days This was not a public exhibition – it could only be seen by those who worked in this particular set of scientific laboratories within the silk laboratory at Tufts University Boston where they ‘.. study the use of silk as an optical material for applications in biomedical engineering, photonics and nanophotonics’ This installation intervened into a process necessary and common within science, that of moving and reorganising equipment from one space to another. In transition a stack of materials lay in the middle of the floor of the analytical laboratory This floor to ceiling installation of silk paper framed this pile of stuff refocusing on the ephemeral nature of the administrative process within the practice of the scientific method. On the last day everything had been moved on leaving a solitary Allen key within the space designated by the silk paper. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617510565999-0G63V2Y156JBXNDYQU27/MAP-Woodford-2014-012-web.jpg Works 2015-2011 - 2014 https://www.fionadavies.com.au/works2015/2010 monthly 0.5 2021-07-19 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617754216552-T9HJGT50H5Z1NFQJDPTU/Garden_Museum_%284632736506%29.jpg Works 2015-2011 - 2010 - Garden Museum, London, UK Photo credit - Robert Scarth from London, England - Lambeth Palace, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=68754350 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753784093-0XKQVW1SC94NG745VXIJ/fiona+davies_Memorial+Double+Pump+Laplace+4.jpg Works 2015-2011 - 2010 - Foyer Museum, School of Physics, University of Sydney, Australia Memorial/Double Pump/ LaPlace III https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617754002455-Q4DSJX4J66F2B6PYJ759/Artists+Re+Harris+Park+Uncompressed+%2810%29.jpg Works 2015-2011 - 2010 https://www.fionadavies.com.au/works2015/2010-c44yl monthly 0.5 2021-07-19 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617754216552-T9HJGT50H5Z1NFQJDPTU/Garden_Museum_%284632736506%29.jpg Works 2015-2011 - 2010 (Copy) - Garden Museum, London, UK Photo credit - Robert Scarth from London, England - Lambeth Palace, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=68754350 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617753784093-0XKQVW1SC94NG745VXIJ/fiona+davies_Memorial+Double+Pump+Laplace+4.jpg Works 2015-2011 - 2010 (Copy) - Foyer Museum, School of Physics, University of Sydney, Australia Memorial/Double Pump/ LaPlace III https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617754002455-Q4DSJX4J66F2B6PYJ759/Artists+Re+Harris+Park+Uncompressed+%2810%29.jpg Works 2015-2011 - 2010 (Copy) https://www.fionadavies.com.au/works2015/pricetaker monthly 0.5 2020-12-12 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607770618159-1OB4SM90PTMQ3ZFTP3RP/D3200+Kandos+April+2015Photoshopped+.jpg Works 2015-2011 - pricetaker https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1607770727327-CJDFHG8RFPQ1U140B0SZ/D3200+Kandos+April+2015+2+017.JPG Works 2015-2011 - pricetaker - The work consists of stacks of polystyrene boxes, some new and others used and unclean, labelled to suggest they are housing blood units for auction. Some of the boxes are sealed with medical packaging tape and have small video screens showing details of the blood types on offer. Each “lot” is casually labelled with details of the type of blood or blood product, the number of units, options for future supply and details of the reputation of the supplier, if known. The appearance of some of the polystyrene boxes raises questions about hygiene and safety, with the banality of the materials evoking desperation, the subversiveness of black markets and the makeshift environment of illegal activities. The videos showing the slow bleeding out of the letters and symbols of various blood types reinforce the validity of these concerns. Audiences experience a loud soundtrack of an auction reminiscent of a country livestock sale, which creates tension as the sound loop works through the 20 lots on offer. An example of the sound track script: Lots three to six are going to be auctioned in one line (estimated price in your schedule is $3,900) for a total of 65 units of Platelets Pooled Leucocyte Depleted O Rh D+ve of particular interest is that they are all low Anti A and Anti B. Brought to us by a new player on the block, the Mediharmonic group. I think we'll be hearing a bit from them in the future. Rest of the details are in your schedule. The installation itself is intensely claustrophobic. Within it, audiences experience a disjunctive immersive experience, connecting all the seemingly disparate elements into a core narrative that contests the economies of donation. This narrative is constructed through audience transactions, both emotive and physical, which provoke and challenge their ethical positions regarding blood as a commercial commodity. What creates the poignant debate for individuals is the possibility of donated blood being denied, while blood is sold in alternative markets https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620033709881-CT9VIX7QMQIYARMPSZTF/AlexWisser_TheSupport_Cementa15.jpg Works 2015-2011 - pricetaker https://www.fionadavies.com.au/20252021 daily 0.75 2025-06-01 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/cb0cb2cc-2d79-4579-9dba-f9ca9ecea5da/both+laurels.JPG 2025-2021 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/d21c0746-264b-4b40-a613-8680b5971726/IMG_5047.JPG 2025-2021 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/f92b0f02-3dc3-4d65-a200-a37d98f7fd1c/IMG_5048.JPG 2025-2021 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/5b11fbfa-d873-4155-b951-8e252e318bd3/IMG_5498+%28002%29.jpg 2025-2021 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/703b58ba-bd12-48f6-8936-c21940475592/plague+doll+pattern+1d+with+title+.jpg 2025-2021 https://www.fionadavies.com.au/20252021/horse monthly 0.5 2022-08-19 https://www.fionadavies.com.au/20252021/field monthly 0.5 2022-08-19 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/ab3282ef-e6fd-4d2b-8116-b3bcb8af1f31/Kandos+projects+1.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/899377c0-4cd2-4370-9028-fba1f65176d3/Kandos+projects+2.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/d549a02d-8178-40f0-bba7-3b0e8f483110/Kandos+Proejcts+3.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/54c928f7-73d9-4b53-a4c6-339ffdc942c7/IMG_6082.jpg https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/7a0bcd0e-4e96-49fe-9ab5-db1e46629520/IMG_6095.jpg https://www.fionadavies.com.au/20252021/gown monthly 0.5 2022-03-25 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/6ccc2889-2cfd-48db-979c-aa6c28ebd79e/DSC07002.JPG 2025-2021 - gown - Make it stand out Works of the mentee and the mentor as installed. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/3314f4d4-5a41-40b8-b9cd-922a79ed79fc/IMG_5871.jpg 2025-2021 - gown - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/6bdd5c09-b3e8-4667-95a9-abe93c1e1abb/IMG_5816.JPG 2025-2021 - gown - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/fc2494e2-416a-4f3e-819e-0979722952f1/IMG_5777.JPG 2025-2021 - gown - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/20252021/telephone monthly 0.5 2021-04-22 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619070100781-SY8GHRKSWXZ42X08FUBB/telephone+davies.jpg 2025-2021 - telephone https://www.fionadavies.com.au/20252021/indian monthly 0.5 2021-03-19 https://www.fionadavies.com.au/20252021/yz monthly 0.5 2022-03-25 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1615866996922-GQG4UVR7N5Y3IVIUDHI2/fd+on+far+left+.jpg 2025-2021 - YZ curated by Daniel Mudie Cunningham at Campbelltown Arts Centre in 2021 My work is on the far left of the Image My Grandad always said, ‘It’s easier to clean up after a fire than a flood’, circa 1988 Mural photograph and found object, 72 x 100 cm Photo Credit Lucy Parakhina. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1615866530724-UURAKSIC2RKSXBOTEKZS/Yearbook%2Bscreenshot%2B1986.jpg 2025-2021 - YZ curated by Daniel Mudie Cunningham at Campbelltown Arts Centre in 2021 - The yearbook - https://www.spaceyz.com.au/ Self described on the exhibition website as “This website is a dynamic extension of Space YZ, expanding upon the narratives in the exhibition and highlighting the influence this Fine Arts Faculty held. In the lead up to and over the course of the exhibition, this site will feature commissioned texts and reflections from students, artists, academics and teachers from the school, as well as artist profiles. It will provide access to the abundance of engaging archival material, graduation catalogues, images and video content, as well as the unique Foundation Studies projects undertaken by first year students.” The image on the left is my entry in the graduation catalogue or yearbook for 1986. I did what was called a double major in glass and sculpture. My graduating work for glass was a sound work while the sculpture component was a more traditional mural photograph, metal and plaster installation that was based on the expression of time in a photograph. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1615868214634-KDWXRTPRO77D7GL7JS5M/IMG_5053.JPG 2025-2021 - YZ curated by Daniel Mudie Cunningham at Campbelltown Arts Centre in 2021 School Fire, 1985, Glass, metal and found objects, One of Two pieces, 32 x 39 cm each https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1615868294403-8HBJV3WT8A5ZSGACOFXA/IMG_5048.JPG 2025-2021 - YZ curated by Daniel Mudie Cunningham at Campbelltown Arts Centre in 2021 School Fire, 1985, Glass, metal and found objects, Two of Two pieces, 32 x 39 cm each https://www.fionadavies.com.au/20252021/2021 monthly 0.5 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1627725763456-W3WN2KXVSO99X217WAGX/Fiona+art+jane%27s+burnt+house+2++%282%29.jpg 2025-2021 - /20252021 - Campbelltown Arts Centre, Sydney, Australia Space YZ was a group exhibition of the student and early career works of eighty eight practicing artists/graduates from the now defunct Art School at Western Sydney University. I completed an undergraduate visual arts degree at that art school in 1986. Three of my works were selected for this exhibition by the curator Daniel Mudie Cunningham. They were School Fire x 2, and My Grandad always said, ‘It’s easier to clean up after a fire than a flood’. The art school is described on the home page of the Space YZ website as ‘From the first graduating class in 1986 to the final cohort as the curtain closed in 2009, the art school was a pioneering hub for experimentation and risk-taking across a broad variety of media. The exhibition curator Daniel Mudie Cunningham wrote in the reader on the Space YZ website that An exciting environment of confusion is the best way to describe these undergrad years at Z block. Recently, former lecturer Terry Hayes explained that the first-year Foundation Studies curriculum was deliberately intended to create a sense of confusion as a strategy for critical thinking. The Latin etymology of confusion is to mingle together and fuse. The curriculum placed a foundational emphasis on ‘confusion’ so that thinking was challenged as part of the creative process https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1616155754638-WV3JU4F5IEIZQIJ2JVYS/both+laurels.JPG 2025-2021 - /20252021 - 5th Indian World Film Festival - 21 A re-edited version of a suite of three fairy tales Once upon a time, long ago and far away x 3 was selected for the 5th Indian World Film Festival in Hyderabad, India. These three fairy tales deal with the interaction between a patient and Death. Strongly influenced by Ingmar Bergman's film, The Seventh Seal where death, the weather and the physical world are either actual characters or strongly imbue those properties. Click on the image on the left to watch the suite of fairy tales. As with many film festivals during the time of Covid-19 the 5th Indian World Film Festival was exclusively online. This presentation format can be difficult for the independent maker. Networking with other makers and with industry professionals is all online and can be problematic but very occasionally can also be rewarding. Similarly and most importantly it is difficult online for a film festival to develop an audience. Coming from outside the film world I have been pleasantly surprised by several features of an online film festival. The first is the generosity of the industry validation offered to the filmmaker as each step on the path in career development. These steps such as selection, are marked by the awarding of a logo sticker containing a laurel wreath. Thinking about about the equivalent event in the visual art world it is almost impossible to imagine that when your work had been selected for an exhibition you would receive this overt sign of excellence, of acceptance that is intended to then be used both by the filmmaker and the festival as a form of publicity. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1624886605135-H5A3MEFYXAFF1U0PHBFX/unfix+.JPG 2025-2021 - /20252021 - Two ephemeral and unrecorded performances by the Australian Before Bed reading collective were part of the programme put together by Unfix which describes itself as a festival of live performance, dance, film, installation workshop and debate that wants to unravel he knots in how we’re living. The festival was started in Glasgow in Scotland and has expanded to undertake programming in New York, Tokyo and Bologna. The festival ran from the 11th-27th June. I joined Audrey Newton the founder of the collective for the two performances along with other members of the collective. For session one, I read the script from my video Once upon a time, long ago and far away: Shutting down in isolation followed by a small extract from Azadi by Arundhati Roy. These readings were translated into British sign language by two BSL interpreters. Before Bed is an intimate experimental reading collective located in Sydney, Australia founded by interdisciplinary artist, Audrey Newton in 2019. Before Bed encourages a shared, interconnected, and comfortable reading and listening experience for its audience. For the 2021 Unfix Festival, Before Bed will extend its invitation to international guests and will ask its guests to return the favour by participating and reading to its Australian audience. Before bed invites readers and listeners to come together in exchange before it is time to sleep. The focus of this exchange is for the participants to read to the audience, and be read to. Before Bed is collaborative in nature and invites participants to choose a 500-1000 word reading in response to the theme of ‘Touch.’ Readings can be the participant’s own or excerpts from essays, novels, poems, news reports, novellas or theory. The possibilities are left to the reader to decide. Before Bed is not the time to multi-task. It is the time to slow down and listen to readings or be part of a group of people reading fragments of text about touch. When part of the group of readers you can write a short piece of text or select one by another writer to read. Conversations about the texts build as the sequence layers more and more elements in a random and poetic construction.Make it stand out. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1629170376920-S8DJJ3SCWNLNQ22HMOYK/Plague+doll+centre+title+grey+portriat+and+cropped+slightly++.jpg 2025-2021 - /20252021 - The Plague Doll-Covid19 The plague doll is a do it yourself (D.I.Y.) kit. Cut it out, sew it together and fill with your own clean stuffing. Then keep it close for luck. This kit comes in four sizes - life sized adult, life sized child, life sized baby and handbag sized. Beautiful and slightly creepy the doll sits between being a good luck charm, a companion, a memorial of someone to whom you were unable to say goodbye, a talisman, a carrier of harmful intentions, a toy or a memento mori. Each kit comes with a certificate of authenticity. For details of price, availability and postage please use the contact form under info. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619069264398-QWXCHQU31OVHSY4V7WXZ/Telephone.JPG 2025-2021 - /20252021 - Telephone- a game of art whispered around the world. Online at https://phonebook.gallery/ My work Double X Marks the Spot was made in response to a work by Pauline Cinnety in Paris and subsequently influenced the writing of a poem by Susanna Kittredge in Boston and the making of a construction by Sam Talbot-Kelly in Vermont. ‘TELEPHONE is just like the kids’ game. A message is whispered from one person to another and changes as it is passed. We whisper a message from art form to art form. A message could become a painting, then music, then poetry, then dance. We whisper each finished work of art to multiple artists so the game branches out exponentially. Halfway through the game, we reverse the process. We start assigning multiple artworks to a single artist. We ask each artist to find what the works have in common and to create a translation of that into their own art form. So — TELEPHONE begins with one message, passes that message through more than 900 artists from 72 countries and then concludes with a single artwork.’ quoted from the telephone website about section. https://www.fionadavies.com.au/earlier-works daily 0.75 2025-11-27 https://www.fionadavies.com.au/earlier-works/lines monthly 0.5 2021-12-27 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/da116ba3-7787-4087-ba3c-dd03df63d64c/Lines+in+the+Landscape+%287%29.jpg Earlier Works - lines https://www.fionadavies.com.au/earlier-works/safereturn monthly 0.5 2025-11-27 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634116709786-NVN6PSH37C7NU3BM6KIE/02+-+Safe+Return+Doubtful+-+Visitor+Lounge+detail.jpg Earlier Works - safereturn/ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634116753455-OK1ZZ1RB4CDPZGOJ821L/01+-+Safe+Return+Doubtful+-+Visitor+Lounge.jpg Earlier Works - safereturn/ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634116951569-3B6I602T7O75URXTV5Q7/05+-+Safe+Return+Doubtful+-+Visitor+Lounge+Ross+Sea+detail.jpg Earlier Works - safereturn/ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1634116998021-W4MZKBHS9S3MRN5K45VX/06+-+Safe+Return+Doubtful+-+Antarctic+Room.jpg Earlier Works - safereturn/ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/spiralarm monthly 0.5 2021-09-29 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632919227798-9HX896N6DVIYWD1ZS45H/Scan274.jpg Earlier Works - spiralarm - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632919290066-HGFUKRRJWFMSNNRDP0BG/Scan280.jpg Earlier Works - spiralarm - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632919435990-IUWCFQMJIXWAZX3CRPDK/Scan278.jpg Earlier Works - spiralarm - The academic Marion Benjamin wrote in the catalogue that ‘ Fiona Davies’ sculptures remember those anonymous generations of women that have existed only as so many cut out dolls. The act of naming, or renaming and the record of births and deaths reclaims for them a place in history, A picture is built up, a photo montage that is made of layers, one upon the other, a story over time. But for me the greatest power of this work is the way in which their almost palpable presence is achieved ironically through their bodily absence- in the dresses they wore. These are the textures which caressed and constrained her body. The dress she danced in, the dress she slowly removed under loving caresses, the dress she laboured in. With its traces of sweat, of bodily warmth, of the wrinkled and tattered weft of ageing skin - small details of adornment which signify her pleasures and pain - it is the text which survived to tell her story. and if so much dead wood now adorns our institutional walls plotting those other privileged histories. Fiona’s clever play with the functional objects of women’s work, and of their abodes, brings back a dynamism to this form of historical remembering - the action she saw at he ironing board in the service of self, family and community. https://www.fionadavies.com.au/earlier-works/1994-1990 monthly 0.5 2021-09-29 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632916921054-00QJNWOU76N08I87L2Z5/Scan276.jpg Earlier Works - 1994-1990 - Spiral Arm, Gallery, Kingston, ACT Australia The group Its two to one consisted of Davida Wiley, Patricia Prociv and myself had worked together making exhibitions for several years. In 1994 we developed a collaborative exhibition for the Spiral Arm in Kingston. The academic and arts writer Marion Benjamin wrote in the exhibition catalogue that ‘ The figure of woman her is not reduced to her biological sameness. Rather, hers is a body which is constitutes and given meaning socially and historically. This is an effect of a reading against the grain which produces the body as text and not just another body of texts. After all reading against the grain does produce a sort of rough texture, that tactile and sensuous investmetn which works against the slippery surfaces of those grand narratives of sainthood, those seamless histories which gloss the exclusion of women and those superfluous shimmerings that are the romantic teleologies constructed in women’s magazines. https://www.fionadavies.com.au/earlier-works/timeof monthly 0.5 2021-09-26 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632627760240-MPGP8UQ2P24IMMBO28FQ/A+yellow+chysthanenum+13.jpg Earlier Works - timeof - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632633684716-LW807IQSC3ORK82AOSJC/a+yellow+chysthanenum+16ed.jpg Earlier Works - timeof - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632633764329-M1CUFT5N2N1AB8Z5SUBS/a+yellow+chysthanenum+19.jpg Earlier Works - timeof - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632633829149-1PLQU4RXE8YL2D5IL6Z2/a+yellow+chysthanenum+17.jpg Earlier Works - timeof https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632627680313-VHQYKBZ08RYOANWK5QFU/davies_+fiona_A.jpg Earlier Works - timeof https://www.fionadavies.com.au/earlier-works/anita monthly 0.5 2021-09-23 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632380100702-NVWOLN6PLS6X9XTREXTC/anita+cobbu+and+beyond+school+photo+300+dpi.jpg Earlier Works - anita - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/thatssuch monthly 0.5 2021-09-22 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632286198768-9L11OF22Y8SBZFOE4J8T/Scan266.jpg Earlier Works - thatssuch - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632823707524-91QW3AEQAALUATFMJB73/Scan282.jpg Earlier Works - thatssuch - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632286301170-8QXAE0GTFKHUQWBJME57/Scan267.jpg Earlier Works - thatssuch - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632823793043-VSZZS3Q7993S5FN0631N/Scan271.jpg Earlier Works - thatssuch - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/oneonly monthly 0.5 2021-07-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632199077206-NEK5DZ7XBONI7AJHSHKU/Scan312.jpg Earlier Works - oneonly https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632199358288-MZERH4YCXHQZTZ9HK063/Shackelton+at+The+Physics+room+png.png Earlier Works - oneonly - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632199696142-HKJURA540IMX9LFN142U/Scan301a.jpg Earlier Works - oneonly - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/missing monthly 0.5 2021-09-25 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757094640-6XU1SZPEVBSQYXANOXB3/Scan247.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757149892-2IE1M4A8S6B0VK347AU1/Scan250.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757222090-MHU6L9R1433ODABWJ5SW/Scan245.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757273186-6CYLR7NXUJU872O4JGP5/Scan257.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757324760-SYRA86GR5ZK6ID4NFBPN/Scan248.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757403275-LNRZWBONCUHQZMS4DLUZ/Scan256.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626757472238-1CN76W69075U278IKS1G/Scan255.jpg Earlier Works - Missing - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/double3 monthly 0.5 2021-07-19 https://www.fionadavies.com.au/earlier-works/memorialhanky monthly 0.5 2021-07-19 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688877701-5WACPZWAXFD6DNCQXRAT/Memorial+Hanky+Instal+%2834%29.JPG Earlier Works - memorialhanky Exhibition History MFA graduation exhibition Monash University, Melbourne Australia 2005 Oceania Centre, University of the South Pacific, Suva Fiji 2005 The Op Shop ( group exhibition) Maitland Regional Art Gallery, Maitland NSW Australia 2013 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688835900-MCSEMK5VOHCZ3DOR2Q4F/Memorial+Hanky+Instal+%2826%29.JPG Earlier Works - memorialhanky - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626688493282-6BGNC9B5MKDMKWJZFKSR/Memorial+Hanky+Instal+%282%29.jpg Earlier Works - memorialhanky - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/timeofdeath monthly 0.5 2021-05-08 https://www.fionadavies.com.au/earlier-works/iceplainas monthly 0.5 2021-05-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/54ac8679-8e3a-470f-9efa-08f4ad43ba83/023+%282%29.jpg Earlier Works - iceplainas - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367525467-WTX89JXL9O0HJN3R0HQ6/DSC_0007.JPG Earlier Works - iceplainas https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/b63c5bba-c006-4760-9577-dd8ab8521f04/DSCN8849.JPG Earlier Works - iceplainas https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/19b360e7-29d2-4ce7-8f36-293a2921aaf4/Ice+-+Plain+as+a+Glass+of+Water+%284%29.jpg Earlier Works - iceplainas https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/04d23e5c-6447-4b5b-9580-b7df84a31ff6/ICE_Image_3.jpg Earlier Works - iceplainas https://www.fionadavies.com.au/earlier-works/laplace1 monthly 0.5 2021-05-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620470343319-25QTP1XSN1PVBPZUC9U7/Memorial+Double+Pump+Laplace+I+%281%29.JPG Earlier Works - laplace1 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620470824926-612V0KXWZU1NNE1OL7IG/Memorial+Double+Pump+Laplace+I+reworked+.jpg Earlier Works - laplace1 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620470887244-ALR5TDYG8VC8I32FRNIF/Memorial+Double+Pump+Laplace+I+%2812%29.JPG Earlier Works - laplace1 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620470933313-RARQ9HZ7S1C96CLXPYAY/Memorial+Double+Pump+Laplace+I+%282%29.JPG Earlier Works - laplace1 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620470999315-RF3CO6P9YRR6GHKMVHE8/Memorial+Double+Pump+Laplace+I+%2869%29.JPG Earlier Works - laplace1 https://www.fionadavies.com.au/earlier-works/waterflower monthly 0.5 2021-05-07 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620360862369-OAYHIKMM4I5HCIVLY4IB/Flower+of+Another+%2823%29.jpg Earlier Works - waterflower https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620361228942-CWQ6LTCEG0X9KHLYXICR/Memorial+Flower+of+Another+%288%29.JPG Earlier Works - waterflower https://www.fionadavies.com.au/earlier-works/wheni monthly 0.5 2021-04-22 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619090642197-QWKZZWTKIUQNFRJ4EJWM/DSC_0036+%283%29.JPG Earlier Works - whenI https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619088974201-UG6KJDH4ILB3YG3A6NHF/DSC_0044+%282%29.JPG Earlier Works - whenI https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619089112926-9UC61WY12F7BSAL48NMF/FIONA.3.jpg Earlier Works - whenI https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619089228281-2S85ZVBEIEOIUNDS58WK/FIONA.5.jpg Earlier Works - whenI https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619088221764-DW2LQCN1U0H52WRRAQZD/memorial+when+I+was+younger+-+cuts+1938.JPG Earlier Works - whenI https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619089290667-RRFNJ8VRGPC0RQXHCB7S/memorial+when+I+was+younger+-+video+still+.JPG Earlier Works - whenI https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619089325639-TSR8LGTZI7OAA1M68S8G/DSC_0068+%282%29.JPG Earlier Works - whenI https://www.fionadavies.com.au/earlier-works/blacktown monthly 0.5 2021-04-18 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618750300610-UO8ROPC4HP11MTX56XKW/memorial+when+I+was+younger+-+cuts+1938.JPG Earlier Works - blacktown https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618750405459-7ZRX7F3HPBFBCINZ60TY/memorial+when+I+was+younger+-+video+still+.JPG Earlier Works - blacktown https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618750599335-EXK8HVF7Z4TJGF7D5N9M/FIONA.7.jpg Earlier Works - blacktown https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618750797387-XG28I4I6NPWKN5AH6XQK/FIONA.10+%282%29.jpg Earlier Works - blacktown https://www.fionadavies.com.au/earlier-works/yearinart monthly 0.5 2021-04-18 https://www.fionadavies.com.au/earlier-works/double2 monthly 0.5 2021-04-18 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618749079709-GB2DX2JKT6PAM1J9LM6V/DSC_0059.JPG Earlier Works - double2 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618749281611-UCK34EJYDPROSNB6YL20/DSC_0032.JPG Earlier Works - double2 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618749485729-CV6EKD1N1CIEFM4XPTBJ/DSC_0037+%282%29.JPG Earlier Works - double2 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618749596164-3P259YWJW78S633V562F/DSC_0027.JPG Earlier Works - double2 https://www.fionadavies.com.au/earlier-works/buttoned monthly 0.5 2021-04-18 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632200078036-X0KSPK44KAZQ49LLBBXH/Scan342.jpg Earlier Works - buttoned/ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632200590695-7C6SR23OIOHQNX22IQVX/buttoned+up+4+.jpg Earlier Works - buttoned/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632200651260-5IKN5HELEWDAAIWQILC2/buttoned+up+3.jpg Earlier Works - buttoned/ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/cd5c4d48-3502-489e-a159-428e46a342eb/buttoned+up+2.jpg Earlier Works - buttoned/ The art critic and academic Elin Howe wrote in her essay ‘ Looking around Corners - Oblique Angles in the Work of Fiona Davies’ about these works that - ‘In a series of wall pieces constructed from discarded cooking implements and small often mother of pearl buttons Davies married two mundane motifs in an aberrant union. Bristling from the holes of aluminum colanders, strainers and steaming baskets was a regiment of tiny buttons. Their unnatural upright pose and gleaming spit and polish appearance spoke of colonialist order carved out of the newly found exotic resources. The unassuming physical appearance of these objects was, however, disrupted by the accompanying conceptual implication. Now discredited in the first world as health hazards, aluminum cooking implements are fast becoming signifiers of the third world. ‘Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632200683478-W8TUTYKXPUAAPLZ9XPE5/buttone+up+5.jpg Earlier Works - buttoned/ - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/intangible monthly 0.5 2021-04-08 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620123828634-EJ46WTWGTM4144JDIJZX/Maitland+Intangible+Collection+photo+Alex+Wisser+074.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620124052264-XAJTWMBRDDJRBEJBCKXC/Maitland+Intangible+Collection+photo+Alex+Wisser+052.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620124154330-2V5VAQ51ZLB5B0MDEQN9/Maitland+Intangible+Collection+photo+Alex+Wisser+019.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620133906447-5GWWIBNGXHKUVCC0JAOO/fabric+flowers+plus+hands.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620124576142-KY1RS1LHR03I4S2M4TI1/Maitland+Intangible+Collection+photo+Alex+Wisser+024.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620124450128-QK9193T93Q4ANA4P2E95/Maitland+Intangible+Collection+photo+Alex+Wisser+036.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620125958636-6H39CFW7G0IN52JUQCJ4/Maitland+Intangible+Collection+photo+Alex+Wisser+043.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620127179622-PTVBIBVMVMLDDZ964Q47/Maitland+Intangible+Collection+photo+Alex+Wisser+037.jpg Earlier Works - intangible https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620133785397-YYOYXOE5HCNKQTH0W6LN/Maitland+Intangible+Collection+photo+Alex+Wisser+067.jpg Earlier Works - intangible https://www.fionadavies.com.au/earlier-works/1989 monthly 0.5 2021-04-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617772959092-U667DM1M1VV750R5NNPN/Flower+of+Another+%2823%29.jpg Earlier Works - 1989-1986 - Esa Jaske Gallery, Sydney, Australia Water/Flower of Another https://www.fionadavies.com.au/earlier-works/itstwotoonelewers monthly 0.5 2021-09-29 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632905197608-ZLWF1D9382XE9MLT4UQ4/Scan327.jpg Earlier Works - itstwotoonelewers - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632905308130-KY14G8N2AQMQG8VJ2UR3/Scan319.jpg Earlier Works - itstwotoonelewers - The arts academic and curator Lee-Ann Hall wrote in the exhibition catalogue essay about this work - ‘In response to the perceivable absence of women from Australia’s historiography Fiona Davies has created a memorial to the pitiful blurring of individual female lives. her tribute is not chiselled or cemented, but rendered instead using old seats prised from kitchen and dining furniture. Now converted into hanging swings, these seats which have borne the weight of many, are empty. Twenty five seats attached to the ceiling are almost imperceptibly swaying. In the corner a fan whirls churning up the air, making a breezeway and conjuring the presence of the long absent. Placed upon these seats are cushions, made of black rich and patterned fabrics, ruched, pleated and embroidered. A complex of ever subtle shades of black resound with the black of velvet nights, the black of mourning, the blackness of repression, the black of satiny sheets, and none the least to ‘ our glorious dead’ black. bearing Gold script these cushions and seats are inscribed with the names of women and well worn phrases. The sum of women’s lives are noted with biographical scraps; born married died. The drab similarity of female life is repeated as if part of a funerary roll-call, Tottie and Queenie, Merle, Edith and Olive. What did their lives amount to ? Why should they have our attention? What dynasty’s have they created? Where have their battles been fought? Their skills who knows? Their legacy may be children, their worldly goods few. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632915449791-Z6RZHFRWR4UCYVLPZEX5/Scan317.jpg Earlier Works - itstwotoonelewers - Teetering between melancholy and bitterness, between solemnity and playfulness, this is a deeply ambivalent memorial. It resonates of soft, cushiony womanhood, of grandmothers and great aunts but also of the thin lipped, white gloved manners of a period where women were bound to each other yet forced to compete within a restrictive social order. Conspiratorial and gossipy homilies, ‘she’s made her bed, now she will have to lie in it’, mutton dressed as lamb’ and vanity doesn’t feel the cold’, are epithets to a past not yet receded. These snug and ugly expressions between women are in attempt to control, jockey and position for a place in the world. They are made comprehensible with a broad recognition of patriarchal power which maintains women as competitors for male favour. In the absence of feminism’s sisterhood women turn upon themselves, tearing their own gender’s flesh. The agents of female oppression goes untrammelled and in its place self-destructive behaviour is played out. Evidenced here is the notion that women as an oppressed group, often do not resist the institutional means of their oppression, but overwhelmed seemingly greater forces, their struggles are localised and somewhat misdirected. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632916171685-HR2FV0SN0WBZY6RXQ4CR/Scan325.jpg Earlier Works - itstwotoonelewers - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/2001 monthly 0.5 2021-04-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617711896089-GFB2XS3L8YI9O2HOP3SO/Oral_Hist_+%2832%29.JPG Earlier Works - 2001-1998 - Susannah Place, The Rocks, Sydney Australia 2000 Missing Untold was a site specific and responsive installation in No 58 Susannah Place, The Rocks, Sydney. One of four small terraces making up Susannah Place, this installation focused on the lesser told stories of the Hughes family who lived in this terrace in the earlier part of the twentieth century. AS Sally Webster the Curator from the Historic Houses trust wrote in the catalogue foreword. Missing Untold offers a different way of reading the history of the museum and brings to life voices of past residents. It also reflects Susannah Places’s role within the community as a dynamic, living history museum. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617712180408-2KIBF5KYZI3RI4BT5QN6/Davies+Fiona+memorial_davies_fleming_gooding..jpg Earlier Works - 2001-1998 - Soapbox, Brisbane, Australia https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617711374484-BWC05YSKIQCEDYTP4QRA/Oral_Hist_+%283%29.JPG Earlier Works - 2001-1998 - The National Trust of Australia property Elisabeth Farm, Rosehill, Sydney Australia The exhibition Sisters and Spinsters, Misses Swan of Elisabeth Farm was a joint exhibition with local artist Patricia Prociv. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617711675814-DIPIHAK87JA198X531L1/Buttoned+Up+2.jpg Earlier Works - 2001-1998 - Gallery 19, Haymarket, Sydney, Australia https://www.fionadavies.com.au/earlier-works/2005 monthly 0.5 2021-04-06 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617773235733-STHEXHNECLN2YC4V4CGJ/Esa+Jaske+Invite.jpg Earlier Works - 2005-2002 - Esa Jaske Gallery, Sydney, Australia Water/Flower of Another https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626667944402-0OOQNIGFDV2QXNGEV36V/Ice+-+Plain+as+a+Glass+of+Water+%288%29.JPG Earlier Works - 2005-2002 - Adam Art Gallery, Victoria University of Wellington, Wellington, New Zealand The work Ice/Plain as a Glass of Water was selected by the curator Sophie McIntyre for the exhibition Breaking Ice: Re-Visioning Antarctica. This exhibition ‘ sets out to identify how Antarctica has been framed and indeed exorcised in the media, museum displays and popular culture.’ Sophie McIntyre wrote in her catalogue essay that ‘ In Ice/Plain as a Glass of Water, Fiona Davies provides a counterpoint to the history of heroism , which is typically gendered as masculine and defined by a ‘pioneering spirit’. In Antarctica, domestic life, particularly sewing and cooking, were central to the survival of these explorers. In a note to his Fiancee, Frederick Hooper , a member of Scott’s expedition writes, ‘I’ve washed all my clothes, about half a dozen suits of underclothes and have been mending them today. I can tell you I can do anything with a needle’ Ice/Plain as a Glass of Water, comprising panels of perforated zinc, such as those used to store meat, onto which thousands of pearly white buttons are sewn, celebrates the everyday on Antarctica and it also responds to the physical landscape. The buttons form a white shimmering seductive surface which, like the terrain, alters with light and movement - a space shaped by melting and shifting sea ice; sliced by a horizon line made invisible by whiteout or iceblink - it is a point of transition. Emma Prendergast wrote in a review published in Salient that ‘ A personal favourite, Fiona Davies’ work invites her audience to cast away the popular notions of the bravery of the explorers,. instead offering a counterpoint to the heroic masculine. Referencing the everyday activities many of the explorers were forced to undertake, Davies uses buttons in a 90 -zinc panel work to celebrate previously hidden stories of domesticity within the myths of heroic exploration The other artists in the exhibition were Stella Brennan, Phil Dadson and James Charlton, Stephen Easthaugh, Peter Fitzpatrick, Anne Noble, Stuart Shepherd and David Stephenson. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617773418545-ENF54CNIO46JZKC4KMZF/Memorial+Hanky+Instal+%281%29.JPG Earlier Works - 2005-2002 - Oceania Centre, University of the South Pacific, Suva, Fiji Memorial/Hanky Found objects and fabric 6000x 4500mm 2005 In this work a link is formed between the personal and the public in that my history and that of my family is combined with other people’s family histories and with those of anonymous former owners, the absence of history, to form this work. The work consists of two lengths of sheer fabric overlaid with incomplete grids of women’s handkerchiefs each only sewn along the top edge. This allows the handkerchiefs to move slightly with the viewer’s movement or to be picked up and examined or just to be played with. The size of the work [4.5 m (h) x 6m (l) x 1.5m (d)] encourages the reading of the work as a heroic type memorial where it could almost be imagined that each handkerchief belongs to a different woman each of whom was individualised and remembered in this work. The twenty metres of base sheer white fabric was bought in Cabramatta in Sydney with a quiltmaker friend giving advice. The handkerchiefs were sourced from my family, various people who donated theirs or their relatives’, one was appropriated by someone working in a nursing home, some came from garage sales and others from opportunity shops. When the handkerchiefs were handed to me they were generally accompanied by a story about the owner, how they came to acquire the handkerchief, if someone else had given them this handkerchief and details of significant occasions on which the handkerchief had been used. Interestingly, people tended to say that the handkerchiefs had just been sitting in chests of drawers, no longer used and that, they wanted to see them ’put to a good use’ by being incorporated into this work. One of the narratives behind a group of three handkerchiefs is that these, three brightly coloured, two orange and one green, handkerchiefs were in the handbag of one woman’s grandmother when during her absence her house burnt down largely destroying all her other possessions except what she was wearing and the objects in her handbag. The richness of these stories about the contextualised handkerchiefs brings the absence of narrative around the anonymous purchases and donations into relief. The presence of each handkerchief is marked. When studying each shape, each border, each pattern, one is aware of the multiplicity of these women’s lives and the fluidity of the movement of these women from one context to another and the identities that accompany that change in context. Interestingly most of these handkerchiefs came from either Australia or New Zealand but about fifteen in total were either donated or bought in Portland, Oregon, USA. They are very different. Maybe different dyestuffs were used, but the designs even of the handmade embroidered ones are different. One formal aspect of this work which surprised me and tripped me up during the making is that it is very rare for any of these handkerchiefs to be actually square. The ritual of the use of handkerchiefs by women is declining in Australia and to a large extent has been reduced to ceremonial use only. When older women are placed in nursing homes or other forms of aged care where they can no longer undertake their personal washing, handkerchiefs tend to be no longer used This may be convenience, its hard to name and track them through an institutional laundry system, [although there are examples in the work of really delicate lace handkerchiefs boldly named using thick black texta], it may be hygiene, handkerchiefs keep the germs in your pocket, - or it just part of that stripping away of personal possessions that is part of the processes of aged or institutional care. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1618749971909-FV4RFTYLR8O2D5JK9DCE/SH+Ervin+invite+%282%29.jpg Earlier Works - 2005-2002 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Earlier Works - 2005-2002 - Esa Jaske Gallery, Chippendale, Sydney Australia Ice/Plain as a glass of water was shown in the project space of the Esa Jaske Gallery in Sydney. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1632377456132-JDDY2YW12PUIOOE8L3AM/anita+cobby+and+beyond+exhibiton+handout+resized++.jpg Earlier Works - 2005-2002 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.fionadavies.com.au/earlier-works/2009 monthly 0.5 2021-07-02 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1626690581474-YG1HPL12P4LMPJKAS6S0/DSC_0165+%282%29.JPG Earlier Works - 2010-2006 - Foyer Museum, School of Physics, University of Sydney , Sydney Australia Memorial/Double Pump/Laplace II https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620127349350-ZWBK1E69N370AU801LDV/typrewriter+paper.jpg Earlier Works - 2010-2006 - Maitland Regional Gallery, Maitland Australia Intangible Collection,2009, rice paper, wood, video, sound, video, paint, ink, photographs, found objects historical items on loan, oral histories, an installation 7.8 x 20metres was commissioned by the Gallery Director Joe Eisenberg OAM for the official opening in 2009 of the new exhibition spaces and buildings. This exhibition examined the former uses of the heritage Art Gallery building as a TAFE educational facility incorporating a museum open to the general public. It uses a wide range of archival material from sources such as the Powerhouse Museum, the Australian Museum, the Mitchell Library, State Records and local oral histories. The Oral Histories were collected prior to the Exhibition from people who had some experience with the building in a range of capacities. Their experiences as students, teachers, museum visitors, cleaners etc are not recorded in the official history. This exhibition layers these experiences back into the architecture of the site. The title “ Intangible Collection” refers to valuing both the objects, (the historical fabric of the building and the museum artefacts on display) and the lived experience as expressed in the oral histories. These memories of the building help to make up a more complex history of its usage. The Gallery Director Joe Eisenberg writes in his catalogue essay on this work that “ in Intangible Collections Davies is both confronting and awe inspiring in her overall statement that pays homage to a museum that was purpose built and then discontinued in less than fifty years as a result of a flood that also ruined quite a number of the original objects. Later he also write that In her inimitable style Davies has produced a rather beautiful and touching installation, but at the same time produced an art work which also poses questions and problems so that it becomes engaging for the viewer. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617712667226-FV8YOV7LISGB74QZIM4O/Dad_RPA_+%2822%29.jpg Earlier Works - 2010-2006 - Lincoln College Chapel, Oxford University, UK Memorial/Double Pump/Laplace III https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617755715189-T9BX242JU0FERAY98A6J/Neither+Thrived.jpg Earlier Works - 2010-2006 - Parramatta Riverside, Parramatta, Sydney Australia Collaborative project with Patricia Prociv called Neither Thrived https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620454428084-MQM1Z2OYHMW9DWXJ0A8R/fiona+art+-+Looking+at+Other+Stage+1+Death+Project+062.jpg Earlier Works - 2010-2006 - The Gallery at Parramatta Artist Studios, Parramatta, Sydney, Australia As both artist and curator for a suite of three exhibitions Death 1, 2, and 3, I selected my work Memorial/Time of Death, 2008, video, 3’30” for the group exhibition Death 1 - Looking at Others. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1619087295195-6Q04GB6AV5IL5UQ2SFRF/FIONA.7.jpg Earlier Works - 2010-2006 - Blacktown Arts Centre, Blacktown Australia The Installation Memorial/ When I was Younger was commissioned by the Blacktown Arts Centreas a response to the history of the former school buildings. The installation was made of several independent works. They were Memorial / Centenary Celebrations 1971, 2007 paint on fabric 1500 x 920mm Memorial / Roll Call Girls 1971, 2007 chalk on fabric 1500 x 920m Memorial / Roll Call Boys 1971, 2007 chalk on fabric 1500 x 920mm Memorial / Roll Call Boys and Girls 1914, 2007 Chalk on fabric 1500 x 920mm Memorial / Class Sizes 1929, 2007 Chalk on fabric 1500 x 920mm Memorial / Cooking #1 1928, 2007 paint on fabric 1500 x 920mm Memorial / Cooking #2 1928, 2007 paint on fabric, 1500 x 920mm Memorial / Telegram to Mr. Wilkins 9th March 1881, 2007 paint on fabric 1500 x 920mm Memorial / Handmade Dress, 2007 satin ribbon 200 x 150mm each (3 Panels) Memorial / Class Photos, photographs on paper various years 300 x 210mm each (6 Panels) Memorial / Cuts 1938, 2007 photographs on paper 300 x 210mm each (6 Panels) Memorial / Memory of Roll Call, 2007 video and sound 22 minutes Memorial / When I was Younger, 2007 chalk on blackboard dimensions variable by various artists For this installation at the former Blacktown Public School I worked with the voices and names of those who worked and were schooled in this building the oldest surviving building in the Blacktown Central Business District. The art academic Elin Howe wrote in the concluding paragraph of her catalogue essay that .. ‘All of our official histories are under contemporary review and historians are realising that artists, with their focus on subjective experience in memory, are opening new paths to the reinterpretation of history. Davies’ practice is beneficial here because she does not succumb to two of the main pitfalls of this approach – flimsy research and the temptation to aestheticise the material by showcasing her own artistic skill. ‘ https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1617773235733-STHEXHNECLN2YC4V4CGJ/Esa+Jaske+Invite.jpg Earlier Works - 2010-2006 - Esa Jaske Gallery, Chippendale, Sydney Australia My installation Water / Flower of Another was installed in the front Project Space of the Esa Jaske Gallery. When I was growing up, a pink camellia grew in full sun by the front gate of our house. I don’t remember it ever looking very happy but it was prized as a plant that was difficult to grow. Its less than impressive appearance was tolerated in order to obtain the once a year flowers which my mother floated in a Japanese bowl in the middle of the dining room table. During the seventeen hundreds, camellias along with many other plants seen as exotic or desirable were taken from parts of China and Japan and the material transferred to other cultures and places worldwide. The works, Water/ Flower of Another use fragments to trace and re-trace the imposed patterns of the past – the colonial – on the present where control of plant material still forms an important component of the economic and cultural landscape. They look at the patterns of difference, the relationships between influence and appropriation within this context and form part of my continued investigation into these issues and the development of an ethical framework within which I can make work. https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620471100388-E2M1FCQYDE9TMD6TQF0K/Aberdeen+st+marks+entry+.jpg Earlier Works - 2010-2006 - St Marks Anglican Church Aberdeen NSW Australia Memorial/Double Pump Laplace I, 2006, installation, textile, found objects, thread and buttons. This is a reflection on making this work that I wrote several years after this exhibition. ‘While an element of my practice has always been an engagement with community in the process of producing art, I reflected that often for me the production of the physical art object whether it be sound, video, installation, object whatever is then layered with additional engagement by a community post production. The physical work ” the art’ serves as a touch stone or means of putting an idea to a group or individual and then watching and waiting for the response. This process of engagement mostly in terms of conversation then becomes a totally ephemeral un-documented art work in its own right layered on top of the initial physical art. My formative experience of this process was by accident. I hadn’t thought it through. I hadn’t designed it in any way. Following the medicalised death of my father I made an installation in the church of the town where he grew up. Aberdeen in NSW is a former meat works town of about 1500, now a dormitory suburb for the coal mines further down the valley. I had originally approached the rector about putting an installation in the church hall and his response was to suggest moving it into the church. Coincidentally on the day I opened the show the town’s pumpkin festival was being celebrated in the closed off street next to the church. That resulted in a lot of people coming to the exhibition without it being a big deal for them and coming almost by accident. With every group that came in I talked about the background to the installation i.e. the death and dying of my father. Nearly all of the visitors told me in response stories from their lives about when they watched and waited as someone died in intensive care, in emergency, at home wherever. These stories were the response that would not be shared between us without the physical presence of the art installation combined with the stories I told of my father’s death.’ https://www.fionadavies.com.au/museums daily 0.75 2021-09-20 https://images.squarespace-cdn.com/content/v1/5f548af12077884476502e74/1620367076410-MMY95L2ZK2L4SCH44Q3J/DSC_0006.JPG Museums and Galleries - Adam Art Gallery/Te Pātaka Toi, University of Wellington, NZ. 2005 The curator Sophie Macintyre choose my work Ice/ Plain as a glass of water for the exhibition Breaking Ice. She wrote in the exhibition catalogue that Breaking Ice: ReVisioning Antarctica explored the ways in which Antarctica has been perceived and imagined, historically and culturally. Featuring work by eight contemporary artists from New Zealand and Australia, Breaking Ice presented visual translations of experiences, perceptions and fantasies of Antarctica in distinctive and critical ways, playfully critiquing the processes of Antarctica’s visual representation and revealing the ways that it has been mythologised. This exhibition was toured in 2006 to the Invercagill Museum, Invercagill NZ.ake it stand out. https://www.fionadavies.com.au/museums/project-six-2f8de monthly 0.5 2020-05-20 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847359057-HKZQQP8MCEM0UI23R57B/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Six https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847359798-BCTJTJAS19PV54HL6VPM/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Six https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847357814-SZ205VXUQGAN268M8A18/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Six https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847356915-2V61708SR7M0A8IBEJLE/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Six https://www.fionadavies.com.au/museums/project-five-9hndx monthly 0.5 2020-05-20 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847350665-9UOIWAR5X24UBW83TJJO/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847351213-Z61O7XETZM827W8NSG74/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847350097-XM9U6QFAY9KBBLO1AZSP/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847349536-9B5S5JDU6CTTOIHYQPE7/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847349032-KE99W4O3PP9147GHRC10/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847348472-8QESU05NL485EPY8X8XO/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847347954-P3IYHJRVJDA9HIJAOIYW/20140301_Trade-151_0124-copy.jpg Museums and Galleries - Project Five https://www.fionadavies.com.au/museums/project-four-wckgw monthly 0.5 2020-08-27 https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847904251-HVHUK3T1H2QCY05DRHU3/image-asset.jpeg Museums and Galleries - Project Four - Make it stand out. It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847904480-AXE2TZ6WH1YWOYJELYQQ/image-asset.jpeg Museums and Galleries - Project Four - Make it stand out. It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5ec321c2af33de48734cc929/1589847904674-UXDT58LZUDAEN1C4LIKQ/image-asset.jpeg Museums and Galleries - Project Four - Make it stand out. It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. 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