Apron Project, 2014

The Apron Project (2013-2014) was my second collaboration with Amelia Zaraftis. (Continuation of Hanna’s dialogic, performative portraiture series) The Apron as focus became the wearable object for this project.

Zaraftis’ work focusing on the reimagined application of traffic sign semiotics within the context of human relationships informed the first apron. It was inscribed with the word CRUSH and was attended by a high stack of tea-towels spelling DO NOT CRUSH. To me as new mother at home with an infant – the apron represented the signature kitsch motif to the housewife. To Amelia, it was a utilitarian work garment; sibling to the uniform that was current in her work. Initially we appropriated signage text from packaging; public, unisex and unemotional. The site for the first performance was under the Aussi Hills Hoist in my backyard in Canberra; creating a domestic image infused with Australian historical national iconography.

The second Apron was without text. It was a fabric chassis - a frilly apron for washing pegs) that converted into a cape. It was attended by an already pegged-up bustle-skirt. In the same place, the second performance unfolded with Zaraftis fully pegging up every line of frill on her apron. She then wore it as a cape; the wearer transformed into a humanoid native echidna. The image of the Australian native Echidna became iconic for us. For me, both my children were born in echidna mating season; and by serendipity each baby was greeted by an echidna in the middle of the path the first time we took each of them into the bush. Channelling the image of a native animal for me was about finally arriving in Australia – after 30 years a kind of acceptance; of having achieved permission to interact with its fauna in my own aesthetic canon.