Debut solo exhibition, Crow’s Nest Regional Art Gallery, February - March 2018
This body of work mixes a range of contemporary sculptural techniques, including painting, assemblage, recycled materials and metalwork to document human interaction with natural Australian landscapes. The artist comments on society’s relationship with waste, recycling and the role of material in art. Her practice references the Art Povera, assemblage, minimalism and conceptual art movements.
Found, recycled and revived materials such as metal signs, unused building and industrial materials, ‘junk’ and various natural elements inspire, direct and become Laurie’s creative practice. They reveal how society is constantly changing the landscape and adapting to it simultaneously. This contrast creates a dialogue between nature and human culture, transformation and natural progression. Her assemblages and bodies of work are often a discordant but familiar collation of visual elements that create rhythmic sculptures of landscape made from pieces of that landscape. Laurie intentionally avoids capturing a direct view, such as in traditional landscapes, but rather an embodiment of emotion or an experience associated with a place and time.
This focus stems from growing up on a small farm collecting items that don’t belong in a landscape, intrigued by how they are changed by it as compared to their original state. Each artwork evolves naturally without using a preliminary drawing or plan for guidance, solely relying on the found objects to dictate the development of the work. Oxenford draws upon techniques and ideas that powered the Art Povera, Assemblage, Constructionism and Conceptual art movements. She looks to Rosalie Gascoigne, Marcel Duchamp, Jonathon Monk, Ronan Bouroullec, William Eggleston, Joseph Czaky, Jannis Kounellis and Franz Kline for influence as well as her surroundings and places like the dump, the roadside and second hand shops.