PAST LIVING: Memory is a Monster/KUTIS
I work fluidly in my studio, constantly experimenting and researching materials and methods to find the best ways in which to express two main ideas. The first being the exploration of mental health and the processing of trauma. I delve into complex and often delicate aspects of the human psyche, seeking to shed light on the intricate interplay between mental well-being and the enduring impact of past traumas; particularly my own. The choice of glass as material symbolizes the vulnerability and resilience reflective of one’s mental and emotional state— sometimes clear and smooth, sometimes fractured and painfully sharp. My work strives to create a space for contemplation, understanding and dialogue about these critically overlooked issues. I express these concepts as a means of fostering empathy, awareness, and healing in those who engage with my art. The second idea driving my work surrounds representation and decolonizing mindset. Challenging and understanding my own internalised racism fostered through and perpetuated by familial and external influences. As an immigrant to Australia from the Philippines, I have always felt Othered, like I was not enough of either place. By working with materials and influence of pre-colonial Filipino arts practice, my work, and methods of making help reconnect with my traditional culture while making space for my individual identity.
Alex Danay, ‘Painting a pillar brown at RMIT’, 2023. Photo: Woo Hyun Kang.