ASSEMBLY POINT | ReAssemble

ERASURE | Curated by Nur Shkembi

NINA ROSE PRENDERGAST

  • ARTIST STATEMENT

    Daemons

    Self-isolation feels like self-elimination. My physical compartmentalisation from the outside world has extracted my presence from previously overlapping lives. My practice and Honours research project address the parallel erasures of femininity and animals in society. Self-isolating at home with my spaniel has exaggerated our affinity in my own life. My artworks honour animals and women in the home and explore how each might navigate traditionally oppressive domestic situations in a time where the house is inescapable. I have been photographing myself to document and prove my existence now that my eyewitnesses have diminished. My photo documentation combats our isolation by connecting my presence to yours.

  • BIO

    There are three types of women who love horses: those who want something out of them, personally or professionally; those who anthropomorphise them; and those who are seeking a higher knowledge about horses and humans and the mysteries of their intersection. - Melissa Holbrook Pierson in Dark Horses and Black Beauties

    Nina Rose Prendergast identifies as all three.

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Nina Rose Prendergast, 'Tack', 2020, pencil on magazine, 25.4 x 20.32cm. Image courtesy the artist.
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Nina Rose Prendergast, 'Dreaming', 2020, pen on magazine, 25.4 x 20.32cm. Image courtesy the artist.
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Nina Rose Prendergast, 'Ponytails', 2020, engraved glass, acrylic, digital print, 60.96 x 25.4cm (triptych). Image courtesy the artist.
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Nina Rose Prendergast, 'Y/Project', 2018, pencil on magazine, 25.4 x 20.32cm. Image courtesy the artist.
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Nina Rose Prendergast, 'Cowgirl', 2018, pencil on magazine, 25.4 x 20.32cm. Image courtesy the artist.
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Nina Rose Prendergast, 'Corporate', 2019, inkjet prints on paper with mineral fibre and steel, 360 x 180cm (installation view). Image courtesy the artist.

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