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  • Writer's pictureLindsey de Roos

installation realisations

install install install!!! you are giving me nightmares!!!


Quishile Charan - Matariki show 2019

"In textiles that uphold her community’s traditional craft methodologies, Indo-Fijian artist Quishile Charan urges the utmost respect for the once-hidden histories of girmitiyas resilience—looking and looking again at their stories of survival—as a counter-colonial act that re-stitches history into armour."

the work includes one large main piece with three accompanying works. but that statement is augmentative itself. objectively we can look at the work through a colonial lens and describe it in this manner. but the work operates very differently even at first glances. the works itself attribute to a community if pieces, not even a series. each telling a story that makes the whole. the placements of the textiles remind me of a discussion. The circular nature of it provides no beginning or end. the work suggests inclusivity and exclusivity. by vulnerably exposing the workings of the pieces t whoever is outside the circle, with holding information to any outsiders. and allowing a minimal amount of people inside. which enables any honest and intimate connections to occur. the work establishes that invisible boundary and also demands a level of respect given illusive nature. it redefines the terms of monumental, that celebrates craft and the untold histories.

"Wax Tablet sets out to explore the agency we have over our own bodies, and it does. Yet what I am left with is a feeling of urgency, a desire to always remember how precious and fragile our agency is, how easily it can be stripped from us, and how casually we give it away."   

Eric baudelaires letters to max

“The past is alive in us, so in more than a metaphorical sense the dead are alive - we are our history.” – Epeli Hau’ofa

names held in our mouths

Cultural knowledge, within Māori and Moana communities, is often passed on through familial lines, both orally or embodied in particular practices and ceremonies. As with any knowledges, these practices are always in flux, responsive to shifting conditions. Colonisation, capitalism and migration have had a particular impact on how practices are continued. Some fall out of use; others adapt to new materials; still others continue on, fuelled by social functions and significance.


- Create a landscape

- Floating and resting pieces with crumbles murmurations

- How do I want people to Navigate through the space

-What is the map of Yzerdontein, memory, auckland, my experience of adolescence

- How does yzerfontein coincide with auckland

- interludes?

- How do i manoeuvre through memory in auckland as a adult

- Intimacy and solitude, what notions sit within the work itself

- What will the structures look like ?

- What material and form will they take

- How will I enable a human Interaction

- what form do my tears take?

- Do I want it to me a map or allude to a mapping of something

- The transitioning of light within those structures, what is it?

-How am I able to use this land to enable me to deal with my grief and transition through loss with the ability to carry on

I like the idea of them breaking through being touched, a sense of happening occurs when the deletion of mistreatment of memory and experience occurs. An involuntary leering go that ha been reclaimed in it set up. Aware of Colonial histories taking place and that it forever will be so how to conduct history aware that coloniality will ultimately eradicate those histories and experiences, just like it always has. Coloniality will not Change it’s a pendulum So how was I how well I is a preserver of history of memory of experiences that are not perceived as real protect that space. And in rich that space. And still create an environment that provokes deception interception performance withWithin an environment that is sacred.

To do



SCUPLT - maps

side thoughts

The sway of a bus being in A transient space

The myriads of hills knowing I’m closer to home

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