Nikki McCarthy
McCarthy, N. (1998) Arrival [Installation view]. Critical Influence exhibition at Ivan Dougherty Gallery, Sidney. https://www.artdesign.unsw.edu.au/unsw-galleries/critical-influence
Sullivan (2004) introduced the work of Nikki McCarthy in Art Practice as Research. Her art practice is deeply rooted in a timeless exploration of connection, bridging the spiritual, physical, and technological realms. She underscores the synchronicities between indigenous knowledge and the land, suggesting that these connections transcend temporal boundaries and remain vital in the present. McCarthy challenges the notion that indigenous art and technology are strictly rooted in ancient methods, proposing instead that new technologies can expand our understanding of indigenous traditions.
Her work blends traditional materials like feathers, clay, beeswax, and wood with cutting-edge mediums such as neon lighting, glass fusion, and plasma technology. In doing so, McCarthy asserts that the survival and progress of Aboriginal culture can be symbolized through both old and new media, creating a broader context for understanding indigenous rituals and metaphysical concepts. Her art acts as a bridge between past, present, and future, allowing for the continuation of indigenous traditions in an increasingly technological world, while emphasizing the ever-relevant power of spiritual and metaphysical beliefs (Sullivan, 2004).
McCarthy is a good example of an artist whose works pertain to indigenous themes without falling into the trap of merely depicting the past. Her idea of transcending time in the objects she produces is carried over into my work.
Reference:
Sullivan, G. (2004). Art Practice as Research. SAGE Publications, Inc.