Immigration Granulation

Commissioned by the Immigration Museum of Australia
24 May – 6 October, 2019

 

Immigration Granulation tattoos and jewels migration journeys back onto the bodies that made them.

Made in collaboration with jeweller Zaiba Khan, this series of permanent and temporary adornments create a single composition, casting food each wearer would have eaten on their path – alluding to the physical repair and nourishment the body needs for such journeys.

Artwork View:
N.S. (Watermelon Seed, Aniseed)
Photographic print on cotton rag, 90 x 120 cm, 2019
Edition of 5 + 3 AP

Artwork View:
K.S. (Fennel, Coffee)
Photographic print on cotton rag, 90 x 120 cm, 2019
Edition of 5 + 3 AP

 

When skin is tattooed, it undergoes the medical process of granulation to heal itself. Capillary vessels form into small beads, as new connective tissue forms over the wound. Curiously, jewellers use the same granulation process in creating ornament. Gold is heated into a capillary reaction, and the resulting beads are fused into decorative patterns and arrangements over a metal surface. And of course, farmers have always used the granulation process in the preparation of staple foods.

The following works consider the intersection of all three processes.

 

Artwork View:
Z.K. (Cardamom, Clove, Cinnamon Bark)
Photographic print on cotton rag, 90 x 120 cm, 2019
Edition of 5 + 3 AP

Artwork View:
J.N. (Sesame, Rice, Mustard)
Photographic print on cotton rag, 90 x 120 cm, 2019
Edition of 5 + 3 AP

Artwork View:
M.D. (Rice, Dahl, Chilli)
Photographic print on cotton rag, 90 x 120cm, 2019
Edition of 5 + 3 AP

Artwork View:
N.M. (Rice, Pistachio, Barberry)
Photographic print on cotton rag, 90 x 120cm, 2019
Edition of 5 + 3 AP

 

In all, the pieces allude to the physical repair and nourishment the body needs from immigration journeys; as well as to toll they take. But also, they ask; is the tattoo the irreversible mark, while jewellery can be taken off?

Or is a tattoo a temporary mark to inevitably perish, while jewellery outlives us to be passed on to the next generation? And hence, are migrations just temporary journeys or more permanent echoes in the world?

 

Artwork View:
C.L. (Mustard)
Photographic print on cotton rag, 90 x 120cm, 2019
Edition of 5 + 3 AP

Installation View:
Immigration Museum of Australia
24 May 2019 – 6 October 2019
Curator: Stanislava Pinchuk

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Photographer: Gavin Green 
Print Technician: Peter Hatzipavlis – Final Grade

 

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