Part-painting, part-sculpture, part-votive object: Megan Huffadine builds and creates using memory and ambiguity. She possesses an archaeologist’s eye, a collector’s sense of reliquary, a cabinet-makers use of segregated space, a sociologist’s compartmentalisation of time and function.

She flattens space but uses tone and spatial depth. Objects which come to echo, resound or reference something else are randomly grouped (and the arrangements can, may and should be altered) so that elements of flux commence. Are these cabinets of possessions, parts of stories, stories of parts? How these change and become something different emerges through this process of alteration and consequential randomness. The preparedness of Huffadine to allow and/or involve the viewer in matters of recomposition, recognition and interpretation is an inclusive act but the weight given to each individual object is so carefully considered, controlled and executed that this is not an arbitrary process or one that causes dissolve. Possibilities emerge, narratives grow.

Huffadine carves and composes, recognising that symbolism is both private and collective and that this includes “longing and desire.” Cultural imperatives are established and rituals implied. She uses time to contrast what is being/has been discarded with that now venerated through a process of emphasis, of gathering and placement.

“We gather, we sort, we arrange, we display” Huffadine wrote in 2007, identifying that “in the end objects become” a “remaining indicator of an individual.” (1)

1. Megan Huffadine, Artist statement, 2007.