QUIET – UNQUIET
Curated by Bridget Macleod

Works exploring regeneration created after a Bundanon residency.Shoalhaven Regional Gallery, Nowra29 April – 24 June 2023

Supported by CAPO Fellowship
Photo: Alex Asch

Mariana del Castillo’s new works move away from the internal landscape of her personal history out into the external landscape of country. Over this period of exploring the landscape del Castillo felt compelled to bring the effects of climate change more directly into her art practice.This exhibition explores regeneration and the collaborative response to complex traumas experienced by Australia’s rural communities after drought, floods, bushfires, and COVID-19. In 2022 del Castillo undertook a Bundanon residency. This solitary time brought clarity to her relationship to nature and its importance to her art practice.Although the landscape of the South coast had undergone devastating fires, the bushland had begun the process of regeneration. Stitching out in the landscape away from her studio allowed the artist to translate moments on country. This rhythmic process of stitching, collaging and mark making has been the seed for these new constructions. Del Castillo’s despair about waste and excess informs her art practice and is visible in her deconstruction of recycled textiles and objects. Their embedded histories and patinas continue to inform her palette and compositions.

Inconsolable tree loss, 2023
92 x 51 x 14cm.
Recycled galvanised bread tray, cotton thread, linen and cotton.

Photo: Brenton McGeachie

Without doubt, 2022
43 x 36 x 22 cm
Recycled galvanised bread tray metal, linen, cotton thread and sumi ink.

Photo: Brenton McGeachie

First response, 2023
97 x 97cm
Decommissioned fire hose, charcoal (Mallacoota driftwood).

Photo: Brenton McGeachie

Roaming Bundanon, 2023
62 x 62 cm
Recycled linen, chalk paint, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie

Wounded by the wondering scent, 2023
62 x 62 cm
Recycled linen, chalk paint, cotton paper, cotton & polyester thread, indigo and sumi ink.

Photo: Brenton McGeachie

The Negotiation, 2023
43 x 166 x 68 cm
Recycled galvanised steel, recycled linen, cotton thread, indigo and sumi ink.

Photo: Alex Asch

Black rain, 2023
57 x 47 x 17 cm
Recycled galvanised bread tray, timber, wire and sumi ink.

Photo: Brenton McGeachie

Regeneration, 2023
59 x 47 x 10 cm
Recycled galvanised bread tray, wood, sea grass roots, acrylic paint, cotton thread, industrial felt, metal, wool and cotton.

Photo: Brenton McGeachie

Silent flow, 2022
97 x 93 cm
Recycled linen, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie

The topography of departure, 2023    
62 x 62 cm
Recycled linen, metal, chalk paint, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie

Oddly silent, 2023
62 x 62 cm
Recycled linen, chalk paint, cotton paper, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie

And suddenly I saw, 2023
57 x 59 x 18 cm
Recycled galvanised bread tray, industrial felt, cotton thread, metal, paper, linen and cotton.

Photo: Brenton McGeachie

Remains, 2022
45 x 36 x 20 cm
Recycled galvanised bread tray, burnt driftwood (Lake Conjola), felt and cotton thread.

Photo: Brenton McGeachie

Deluge 1, 2023
76 x 72cm
Recycled linen, chalk paint, wool, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie

Deluge 2, 2023
62 x 62
Recycled linen, chalk paint, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie

Carrying the river (Shoalhaven), 2023
62 x 62 cm
Recycled linen, chalk paint, cotton thread, indigo and sumi ink.

Photo: Brenton McGeachie