ROO is the title of a bigger body of work that includes paintings, objects and a series of performances. ROO was an investigation of selfhood and driven by the exploration of my ethnick (sic) identity. The catalyst for this body of work was a governmental document outlining the Code of Practice for the Humane Shooting of Kangaroos. The act of shooting kangaroos is one of violence and according to the code of practice must be carried out with pinpoint precision. I saw a parallel with my own development as an artist. The parallel being I desired the same pinpoint precision in understanding my creative practice and its motivations. In terms of process there was also a shift in my creative methodology where I produced work not driven by exhibition deadlines.
It was exciting to remove the consideration of presentation, gallery worthiness and archival quality from what I was making. Like any object-based work, there is a consciousness in the production that helps clarify my thoughts. The idea that production is a way of thinking is essential to the understanding of my work. It is the very activity of physical manipulation of material that resolves what I struggle to understand. My performances are more resolute when I make things. I identify a strong link between the activity of making and performance.
I used loosely cut synthetic canvas pieces. I then painted them with process driven immediacy. I referenced diagrams from the code of practice and made the kangaroos menacing in appearance. This was contrary to the diagrams in the code that represented the kangaroo as stupid and docile looking.