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Energies: Haines & Hinterding

25 Jun - 06 Sep

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Aleks Danko

30 Jul - 18 Oct

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Primavera 2015

22 Sep - 06 Dec

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06 Sep, 6.00pm, Throughout the MCA

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11 Sep, 9.00am, The National Centre for Creative Learning

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15 Sep, 9.00am, Creative Studios National Centre for Creative Learning

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We laughed, we cried, we danced, we barked…

Teachers from across NSW gathered at the MCA and Sydney Opera House for two days of creative dialogue and exchange as part of the 2015 Engaging Students with Disability forum. more

If these walls could talk | #AleksDanko

Ha-ha-ha-ha. Learn the meaning behind artist Aleks Danko’s Laughing Wall.... more

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Sangeeta Sandrasegar

Its feet were tied, with a silken thread of my own hands weaving 2010

Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families and Bernard Shafer in memory of Anna Shafer, 2010

nylon organza, cotton thread, glass beads

About the Artwork

This diaphanous installation – a series of suspended opalescent organza panels by the Melbourne-based artist Sangeeta Sandrasegar – is emblematic of the artist’s preoccupation with the challenges of cultural difference in the context of diaspora.

On close inspection, some of the panels reveal depictions of Australian floral motifs rendered in delicate embroidery. The flowers adorn dimly traced feet in the manner of henna decoration of hands and feet of women on the subcontinent. The feet and legs float in mid-air, adrift from the rest of a body which is absent. On other panels the outlines of Australian trees can be seen; and on one, the ripples of sand and sea. The artist has commented that for her the panels ‘evoke the colours of this country… [in] the ghost-like softness of certain hours…’.

The title is taken from a poem by the English Romantic poet John Keats (1795-1821). The artist also drew inspiration from William Butler Yeats’ (1865-1939) poem ‘He wishes for the cloths of heaven’ (1). In Sandrasegar’s work, the juxtaposition of materials and techniques associated with traditional female pursuits, together with the ambivalence implied by the title, results in a poetic reflection on place and the vulnerabilities that can be experienced by women at a time of increased global migration.

(1) 'He Wishes for the Cloths of Heaven’ was published in 1899 in Yates’ third volume of poetry, The Wind Among the Reeds.

“Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.”

References

Anna Davis, (curator), Introduction, MCA Collection: New Acquisitions in Context 2010, (exhibition catalogue), Museum of Contemporary Art, Sydney

Vivienne Webb, (curator), ‘Sangeeta Sandrasegar’, Primavera 2004: Exhibition by young Australian artists, (exhibition catalogue), Museum of Contemporary Art, Sydney.

Quotation: Sangeeta Sandrasegar, from a statement written by the artist on occasion of the acquisition of her work by the Museum of Contemporary Art, 2010

In a way … [this work] is about love – the ties that bind – yearning and obligation, to place and to people.

Sangeeta Sandrasegar, 2010

Sangeeta Sandrasegar

– About the artist

b.1977

Sangeeta Sandrasegar was born in Brisbane of Malaysian and Australian parents, and spent her childhood growing up between both countries. Her practice is research-based and centred around post-colonial and hybridity theories, drawing strongly from her mixed heritage.

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