2021
Inhabiting (in collaboration with James Tylor)
As a new family we trace our way through shifting realities, seeking a sense of place within the Australian landscape as our private scenes play out against a backdrop of ecological crises and political uncertainty.
Through this series of domestic furniture and their accompanying photographs, we intertwine our contemporary family experience with Australia’s cultural and environmental history.
Drawing on our family’s intercultural heritage, the work seeks to highlight the balance our Aboriginal ancestors had with Country, the harsh impact of British colonial rule and the influence of new immigrant families
As a new family we trace our way through shifting realities, seeking a sense of place within the Australian landscape as our private scenes play out against a backdrop of ecological crises and political uncertainty.
Through this series of domestic furniture and their accompanying photographs, we intertwine our contemporary family experience with Australia’s cultural and environmental history.
Drawing on our family’s intercultural heritage, the work seeks to highlight the balance our Aboriginal ancestors had with Country, the harsh impact of British colonial rule and the influence of new immigrant families
Inhabiting #1-4, 2021
James Tylor and Rebecca Selleck
Photographic print on cotton rag, Tasmanian oak frame with museum glass, edition of 5
Framed: 100 x 80 cm
James Tylor and Rebecca Selleck
Photographic print on cotton rag, Tasmanian oak frame with museum glass, edition of 5
Framed: 100 x 80 cm
2016 - Lapin
I use my ongoing practice to reciprocally investigate and challenge my own perceptions within a culture of conflicting truths. I question an ability to empathise with other animals on the one hand and disconnect on the other. Forcing these emotions to clash, there is a strange sensation. A push and pull that results in perceptual dissonance. Of particular interest are our convoluted relationships with introduced species. Rabbits, in particular, have manifold meaning to us. Through blurring the contextual boundaries between pest, product and friend in a bodily experience I hope to communicate hypocrisies hidden in our everyday cultural experiences.
By taking these sculptural forms into the Australian landscape, I layer the lives and ongoing agency of animals once factory farmed, worn as fashion and transformed into basic rabbit forms in an environment that rejects them.
By taking these sculptural forms into the Australian landscape, I layer the lives and ongoing agency of animals once factory farmed, worn as fashion and transformed into basic rabbit forms in an environment that rejects them.
A Rabbit Journey: Part One, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Two, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Three, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Four, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Five, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Six, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Seven, 2016
Black and white digital photograph
Black and white digital photograph
A Rabbit Journey: Part Eight, 2016
Black and white digital photograph
Black and white digital photograph
2015 - Perceptual Dissonance
These photographs accompany my 2015 ‘Perceptual Dissonance’ body of work, which gives sculptural presence to the moment when conflicting perceptions of non-human animals touch and the resultant sensation of perceptual dissonance, characterised by the push and pull of empathy and disengagement.
The black and white composite photographs result from the embodied hypocrisy of working in taxidermic construction for the period prior. In these photographs, the artist’s human form becomes object, as it’s segmented and blurred into the background, and the representative form of the animal becomes living subject. They are an offering and personal catharsis.
The black and white composite photographs result from the embodied hypocrisy of working in taxidermic construction for the period prior. In these photographs, the artist’s human form becomes object, as it’s segmented and blurred into the background, and the representative form of the animal becomes living subject. They are an offering and personal catharsis.
Six Sheep in a Bath, 2015
Digital Image
Digital Image
Six Sheep in a Bath Upsidedown, 2015
Digital image
Digital image
Rabbits in Landscape, 2015
Composite digital image
Composite digital image
Sheep in Landscape, 2015
Composite digital image
Composite digital image
Pigs in Landscape, 2015
Composite digital image
Composite digital image
Cows in Landscape, 2015
Composite digital image
Composite digital image