Zoë Marni Robertson synthesises writing and painting, disparate research and personal connections into a lived experience of the political. Materials are gathered out of waste (small attempts at sustainability). Where waste is unavoidable and other ethical concerns (such as the exploitation of labour) are inherent in the process (the machines/tools and materials), these preoccupations are addressed.
Anticolonial Fireman Stripper Communes with (Wronged) Asterion in the Last Days of Fountains, 2019, acrylic (mis-tints) on poly-cotton (discarded quilt cover), 1400 × 2100 mm
Manspread, 2020, acrylic (mis-tints) on (discarded) board, 300 × 400 mm
Pasiphaë Poster, 2020, acrylic (mis-tints) on (discarded) Masonite, 1220 × 2440 mm
Sexualised Workers Mural (‘Real’ vs. Actual Work: Scott Cam vs. David Graeber), 2020, acrylic (mis-tints) on (discarded) board, 400 × 300 mm
Super Spreader, 2020, acrylic (mis-tints) on (discarded) board, 290 × 400 mm
There is No Art Market in Australia Because Money is so Easily Laundered Through Real Estate (Painting a Fake Art Film Set From Beverly Hills Cop), 2019, acrylic (mis-tints) on canvas pad, 420 × 250 mm