Exhibition Dates: August 17 - September 3, 2022

Starry Kong

Its in me everywhere

Happiness has a limit for me.
A limit where I can’t take any more.
This limit comes to me much quicker than other people.
It comes even quicker than a tiny ant’s.

(A bride for Rip Van Winkle)

I was born with it.

It was hiding inside of my cells, veins, bones, brain, and soul.

It was waiting, quietly.
One day it was triggered,
and it started to sprout, grow, and spread.
it is inside of me everywhere.

Ian Haig

Pox Party

Mutated hackable bodies, bodies that didn’t quite work out and bodies that can no longer be classified as bodies. The nightclub as a hedonistic plasma pool and human petri dish of flesh, meat and the end of the body as we know it. 

Drawing on the transhumanist musings of Yuval Noah Harari….”We need to re-invent democracy in this new era in which humans are now hackable animals…Transhumanism is a means by which we exterminate homo sapiens as a species, and go into a post-human experience of reality, where the only thing relevant is the computational synthetic process of a selected set of inputs controlled by a cloud computer”

Iolanthe Iezzi

Ill have what shes having

My work explores themes of identity, imagination, memory and female gender. I address these experiences personally, with humour and irreverence.

I’ll have what she’s having is a series of warped self-portraits in real or imagined contexts. This body of work depicts scenes of fun and leisure with a twist, digitally illustrated in pastels and soft textures. Taking pleasure in the colours, lightness, and hints of self care and delight. Other works depict more deviant or abstract scenes with the subject’s sharp stare looking directly at the viewer. The figures are set against textured backgrounds that, for me, recall gold backdrops of medieval icon paintings, old wallpaper and Magic Eye images.

The work draws from a fascination with the iconography of Medieval Gothic painting from 13th century Europe. I have taken inspiration from these works and interpreted them in a new, mundane context. Here, there is humour and strangeness in the brazen eye contact between characters and the viewer. As if they are sharing a joke or gag with one another. Scenes depicted in this period have an air of humorous pantomime with characters committing a violent or grotesque action with a knowing smile.

I am also pursuing the pleasures of textures, colours and patterns in nature and in manufactured surfaces and objects while dealing with the darker or more aberrant experiences of being me.