Beyond Mum’s Garden
Lauren Cvetko
Master of Architecture | University of Sydney
I've found HOME in relinquishing the fear of being.”
MATERIALS: Charcoal + beeswax + lapiz lazuli
Artist Statement
A lack of ‘belonging’ left me spiritually homeless. A self-commodifying pursuit for acceptance, resulted in a distorted state of mind becoming home; dissociation. In thought, in mum’s garden. As a culturally disjunct child, when I rationalise my ‘belonging’ to the global zeitgeist, I am in a state of mental apprehension, fear over my validity – my existence.True home and belonging for me falls under what happens on and with Country. Understanding foremost we have an inseparable relationship with the land, and ultimately with each other. With body and mind in contention I hinder my ability to engage in a benevolent form of creation: connection. Engaging in ‘HOME’ was a catalyst for me to reconnect with family and a childhood garden I was separated from for 11 years. Beyond Mum’s Garden’ invites you to reflect; grounding you in sight, aroma and pattern.
Synopsis
‘Beyond Mum’s Garden’ invites patrons to reflect on their understanding of belonging prompted by my statement (story). The Living Belonging intends to create an elusive yet grounding experience, through triggering the senses with the sight and aroma of natural elements; beeswax, charcoal, light, and sand patterns.
Patrons uncover the function of the Living Belonging by using the torch of their phone, revealing the varying shades and inconsistencies of the orbs. For a more vibrant and intimate experience the lit orbs can be viewed under the charcoaled wax dome. The orbs are left free to be arranged infinitely by patrons, each forming their own distinct memory of the object. Memory formation and reflection, something many of us students are exploring in our objects and I found this resonated most in conversation I engaged in.
Home and belonging for me falls under what, happens on and with Country, understanding foremost we have an indistinguishable and inseparable relationship with the land, and therefore ultimately each other. All co-creating each other, with each other, on and with Country.Only those in my HOME cohort, are aware of the very literal connection this object has to my garden, how I interact with Country and how this informed its manifestation. For patrons, the object catalyses memory formation beyond the context of mum’s garden and my story. Visitors are indirectly connecting with me, but we are directly engaging in each other’s story.'Beyond Mum's Garden' was formed with respect and intention towards Country, able to return in whole with minimal harm.
