Hayley Millar Baker, Nyctinasty, 2021. Still. 7:54 single channel video. Courtesy of the artist
Photo Credit
Hayley Millar Baker, Nyctinasty, 2021. Still. 7:54 single channel video. Courtesy of the artist
Photo Credit
Exhibiting for the first time on Aotearoa shores, Gunditjmara and Djabwurrung lens-based artist Hayley Millar Baker has a lot to offer in Nyctinasty (2021). Tensions rising, spirits discursive, Millar Baker presents herself as the protagonist in a domestic setting representing the human psyche, gradually accelerating towards a climactic conclusion. Finding herself in a composite space where the physical world and the spiritual realm collide, her mind and body shift as she performs acts of caring for the body and spirit after death.
Hayley Millar Baker addresses notions of identity and memory in her practice, her oblique storytelling methods and methodologies encourage us to embrace that the passage of identity, culture, and memory are neither linear nor fixed. Nyctinasty was commissioned by the National Gallery of Australia, Kamberri Canberra for the 4th National Indigenous Art Triennial: Ceremony. Millar Baker is represented by Vivien Anderson Gallery, Naarm Melbourne and Cassandra Bird, Eora Sydney.
Nyctinasty, shown as part of the Dunedin Public Art Gallery’s Rear Window Moving Image Programme, marks the first time Hayley Millar Baker has exhibited in Aotearoa.
Exhibiting for the first time on Aotearoa shores, Gunditjmara and Djabwurrung lens-based artist Hayley Millar Baker has a lot to offer in Nyctinasty (2021). Tensions rising, spirits discursive, Millar Baker presents herself as the protagonist in a domestic setting representing the human psyche, gradually accelerating towards a climactic conclusion. Finding herself in a composite space where the physical world and the spiritual realm collide, her mind and body shift as she performs acts of caring for the body and spirit after death.
Hayley Millar Baker addresses notions of identity and memory in her practice, her oblique storytelling methods and methodologies encourage us to embrace that the passage of identity, culture, and memory are neither linear nor fixed. Nyctinasty was commissioned by the National Gallery of Australia, Kamberri Canberra for the 4th National Indigenous Art Triennial: Ceremony. Millar Baker is represented by Vivien Anderson Gallery, Naarm Melbourne and Cassandra Bird, Eora Sydney.
Nyctinasty, shown as part of the Dunedin Public Art Gallery’s Rear Window Moving Image Programme, marks the first time Hayley Millar Baker has exhibited in Aotearoa.