We recently sat down with Juanita McLauchlan, where she shared insights into her creative process, drawing from her background in print-making and her exploration of familial heritage through sculpture. Through her unique approach, McLauchlan intertwines tactile sensation with storytelling to bring her art to life.
OTOMYS: How does your background in print-making inform your art?
Juanita McLauchlan: I love the tactile sensation of ‘making’, cutting a piece of lino, blanket or Wood cut block at the end is like braille; through feeling the material I can read the highs and lows of it and decide where it’s going to be. This physical sensation helps me visualise the print within the surface of the paper or the form of the sculpture. It feels like an organic progression from printmaking to the more sculptural work in my current practice.
OTOMYS: What do you think it is that brings your art to life?
JM: This comes down to the inspiration and support from people, places and stories. I live in Wagga Wagga on the border of New South Wales and here I met Julie Montgarrett who has been a valuable part in developing this series of work. Julie has shared her stories, techniques and knowledge of making natural Bush dyes and producing detailed print onto the Wollongong blankets. My husband is very supportive and has always been there with our five, so this allows me the time and space to then work intuitively and freely manifest ideas from simple concepts.
OTOMYS: In a few steps, can you trace your process from conception to completion?
JM: For me the conception of an idea is fluid and I’m open to the ideas that spring from it; from my first step down a pathway, I can very suddenly take an unexpected quick left turn. It’s the happy accidents that make my work come to life because much of my work evolves and it doesnt turn out the way I’d initially dreamt of it but that’s okay, I’m happy with that. I’m constantly busy in my studio developing new concepts and working with new materials because ideas in my process come from an active mind with busy hands even if it is at 2am.
OTOMYS: You refer to your long chain works as necklaces yet they are not necessarily created as a body adornment. What is the heritage behind these sculptural pieces you make from possum fur, blanket and coloured thread?
JM: The necklace sculptures can be worn or exhibited. Working with my woollen blankets, tearing them up and creating ‘necklaces’ gives them new perspective, one which acknowledges familiarity and my family’s history. The necklace also pays homage to all parts of my family both First Nations and European. Inherited knowledge and the concept of bloodline is worked into each piece. The nostalgia rekindled with the use of vintage blankets represents the umbilical cord or continuous loops of heritage which hold families together with red thread stitched twice on every loop like dna spirals. The larger works represent knowledge - not only knowledge that has been lost but also knowledge which is highly valued. Traditionally people in high regard held knowledge, truth and storytelling and now, more than ever, this is important for all people, from First Nations through to new arrivals, acknowledging our history to avoid repeating mistakes and holding close to our hearts the love we have of this country.
A sincere congratulations to Juanita McLauchlan who has been announced as a Wynne Prize Finalist 2024. Read more here.
June 12, 2024