A physical print of a digitally created collage. Bright red text reading "EVERYTHING IS INTERESTING ONCE" can be seen overlaying the work. Other images include digital line drawings and screenshots of articles and captions from various web sources. Ink is applied thickly in some areas, due to alternative printing methods.
Alanna Baxter
everything is interesting once 1/?, 2022
ink on paper
21cm x 29.7cm


Within my work I aim to explore notions of rebirth and queer femme identity, utilising text and humour. In the digital age, I am surrounded by constant sources of stimuli, which are transient in nature, ensuring I am constantly undergoing reiterations of who I am, and what I believe and am surrounded with. I view rebirth as a multifaceted concept, referring to the differing identities that one can present depending on contextual factors.

My artistic process includes juxtaposing the emotional with the comedic to suggest the reality of human life and emotional vulnerability. Intersectionality, and notions of toxic masculinity and the discourse surrounding this, are relevant as it is reflective of the cultural zeitgeist in which I am creating, as we as a society explore why we are historically unable to express ourselves without consequence. Social influence serves as a form of currency in the internet age, and unpacking power structures and the commodification of digital identity is of strong fascination. I consider within my work, ideas of authenticity, exploring social media and ideas of representation, tapping into Jean Baudrillard’s theories of simulacra and representation. I further this concept, using the media to understand my perception of self, and play with the subtlety and emotional weight of language.

My outcomes explore stimulation overload and human-like forms, often entangling and intertwining these forms, suggestive of the overlapping nature of thinking processes and my brain’s incapability to compartmentalise. I aim to juxtapose traditional forms of presentation with what is seen as ‘low’ art, relegated to the lower sections of society due to its shabby presentation or mundane use. My reading can include a diverse range of texts, from academic studies on the effectiveness of art therapy, artist biographies and writings and analysis of the rise of incel culture, to ‘shitposting’ online and news articles on celebrity culture. Institutional critique and the dissecting of Western power politics is inherent to my practice, as I aim to examine my own privilege and societal position. Personally, my process provides a feeling of catharsis, as I create seeking to form questions about my own identity and not necessarily find and project an explicit answer on to my audience.

I draw inspiration from a range of sources, including artists and writers such as Thao Phan, Amia Srinivasan, Sohaila Abdulali, Jeanette Winterson, JD Reforma, Jason Phu, Marianela Castro and Patty Chang.

I acknowledge, pay respect, and pay the rent to the Traditional Custodians and their Ancestors of the lands on which I live and work: the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nations. Sovereignty was never ceded and colonial violence continues across so-called Australia to this day.

You can see more of Alanna’s work, and contact her, at @10regentcourt.


the out-facing corner of two intersecting white walls with a long piece of canvas wrapped around it. On the canvas there is embroidered circles, ribbon and a geometirc painting utilising pink and greenish hues on a pale beige coloured backing.
Alanna Baxter
from your birth to the one you gave me, 2022
acrylic, gouache, embroidery and found ribbon.
51cm x 182cm.
The image shows Alanna in their studio using a hammer and nails to attach an unstretched painted canvas work onto a group of three wooden tea chests
Alanna Baxter in studio, 2022.
The image displays Alanna Baxter in her studio using gesso to prime a large canvas which is hung on the wall.
Alanna Baxter in studio, 2022.
A physical print of a digitally created collage. Images include digital line drawings and screenshots of articles and cpations from various websources. Ink is applied thicky in some areas, due to alternative printing methods.
Alanna Baxter
everything is interesting once 2/?, 2022
ink on paper.
21cm x 29.7cm.
a figure can be seen holding a mesh screen print over their face. The screen appears to have been painted with various sentences and symbols.
Alanna Baxter in studio, 2022.
a digital collage including text on a white back ground, binary code in red, images of a CPR dummy and the artists' loved ones.
Alanna Baxter
untitled, 2022
digital collage
dimensions variable
Several canvasses, of varying size, and paper with symbols and geometric shapes done in grey lead on the floor of the studio.
Alanna Baxter’s studio, 2022.
A close up shot of a larger work on paper. Red and black gouache have been user, as well as black marker.
Alanna Baxter
58008 [detail], 2021
gouache and marker on paper.
146cm x 129cm.
Alanna crouches by a black display portfolio, pointing at collaged work within the folder
Alanna Baxter in the studio, 2022.
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Alanna Baxter