CJ Mahony’s practice explores stability, impermanence, immersive experience and the present moment. Her work ranges from large scale interventions to fragile speculative models and objects. In her installation work she examines the contrast between the dimensions of architecture and the scale of the human body. Through sculpture and assemblage she explores the interrelationships of objects, time, power and memory.
In a new project at FLACC she researches some of her childhood memories of a (supposed) rock collection that was located in the attic of her parental house. Although the memory is very vivid, it that might or might not be real. The project started researching how memories are formed and changed over time and includes the material and immaterial aspects of (fake) rocks.
A new series of objects, that includes ceramics, watercolours, prints, wooden “rocks”, resin and other materials, were formed and set in ever changing formations, following the fluidity of memories. Slowly the attention shifted from a from a personal concrete, although subjective, memory to a more insight in her personal history, how certain action formed her live and influenced her work.
Or, as Phoebe Blatton states in her text:
Now, you are “in the doorway and looking into the room. There is an odd light in it from the slit of the window.” You realise that for years you’ve been putting slits into spaces so the audience could never quite properly see in. Stuck doors and Arrow-slit windows. “Houses and spaces and the object and performance of these spaces we inhabit and try and live up to, into...” This, you say, “is in my mind.”