In the way that matter might be reductively pursued to its incarnation as pure energy, so Jefferies would acquaint us with alternative considerations of our own physical constitution.
Lyndal Jefferies
Born 1971, Auckland, New Zealand
The mystical notion that life exists independently of the transient organisms which constitute its physical manifestations, can be seen at the core of Lyndal Jefferies' investigations and representations of the human body. She conceives of the human organism and its parts, more in metaphysical terms than as the corporeal body posited and dissected by medical science.
In the way that matter might be reductively pursued to its incarnation as pure energy, so Jefferies would acquaint us with alternative considerations of our own physical constitution. In the installation Amorphous Organ, she presents a range of human organs handsomely sculpted in cast aluminium. These elegant, flaccid and shimmering objects re–interpret the prescribed organisation of the body and are instead offered as independently viable entities, a simulation of individuation.
With Amorphous Organ (Pool), Jefferies creates an object from water, oil and powdered aluminium, whose reflective surface "self–heals" when broken. Pool's transparent suggestion of bathing, counterpoints the western preoccupation with hygiene against a more sublime allegory of spiritual cleansing.
Ross Wolfe from the 1997 Samstag catalogue, Elephant Poo
1997 Anne & Gordon Samstag International Visual Arts Scholarship
1997 MA in Fine Art, Goldsmiths College, University of London
1992 Graduate Diploma in Visual Arts, Sydney College of the Arts, University of Sydney, Australia
1991 Bachelor of Arts (Visual Arts), Sydney College of the Arts, University of Sydney, Australia
