‘Inland’ connections to place

This was her first institutional show, and was part of the Australian National University's School of Art and Design 2022 Graduate Exhibition, where the gallery selected a recipient under the Emerging Artist Support Scheme.

“I got an artist grant for materials which was really great,” she said. “The exhibition was using local materials from here in Gilgandra and from Canberra as well to make a textile installation.”

Community members may remember back to Clementine’s exhibition ‘InSitu’ at the Coo-ee Heritage Centre. Similar to ‘InSitu’, this installation ‘Inland’, uses alike materials such as drop sheets and natural dyes to create a textile installation.

“It used lots of different things like a target that my brother made ages ago, to use to practice shooting, because he used to go target shooting out here in Gilgandra. So it's just like a nice amalgamation of all these different like little mementos connecting to place,” explained Clementine.

Her connection to Gilgandra was significant to ‘Inland’, and Clementine wanted to ensure that that rela- tionship was able to shine through. Continuing from her honors project at ANU, Clementine wanted to see how she could make art within local spheres, products, and environment. 

“I was burying some of the works in the dam at home on the farm and letting them dye. I was also gesturing towards the Hills Hoist kind of shape within the gallery, because the gallery space was just a corner, but I bought secondhand retractable clotheslines, so I put four up to of give the illusion that it was a clothesline,” she said.

“I liked using that form because I think it’s very sug- gestive of rural Australia, but also suburban Australia, that I was living in in Canberra. I also like to keep the exhibitions I have quite informal, and I like people touching it, so I was hoping it would invite people to touch the fabrics.”

In her artist statement, it states that the “exhibition explores gift economies (gifting services or goods without the expectation of receiving the same in return) and in environmental collaboration, McIntosh builds relational understandings towards place as both newcomer and local.

“Inland uses the familiar clothesline structure found in suburban/rural backyards to present dyed, stained, buried, and sewn textiles pieces. Accidental, repetitive, and environmental mark-making made by artist, stranger and/or the nonhuman, invites audiences to notice and contemplate the textiles entanglements to place and by extension their own.”

Meeting other like-minded artists and collaborators through her first institutional show was an incredible experience for Clementine. She was very grateful for the support she received and for her brother Spencer’s help with the installation, and is thrilled to have shared her work with another regional audience.