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After

27 August - 17 October 2020 Kasia Tons After by emerging Adelaide-based artist Kasia Tons is a solo exhibition of textiles and photography. Kasia uses textiles to create soft sculptures, 2D works, and wearables that explore personal narratives with universal themes such as home, identity, constructive chaos, and interpersonal relationships. She has been inspired by the little known E.M Forster novella The Machine Stops (1909) which describes a futuristic society where a machine which sustains daily life suddenly stops. This delightfully quirky exhibition explores a time after technology has thrived. After the technology dies, the hole that is left is filled with creative entertainment and expressions reminiscent of times gone past.

27 August - 17 October 2020

Kasia Tons

After by emerging Adelaide-based artist Kasia Tons is a solo exhibition of textiles and photography. Kasia uses textiles to create soft sculptures, 2D works, and wearables that explore personal narratives with universal themes such as home, identity, constructive chaos, and interpersonal relationships. She has been inspired by the little known E.M Forster novella The Machine Stops (1909) which describes a futuristic society where a machine which sustains daily life suddenly stops.

This delightfully quirky exhibition explores a time after technology has thrived. After the technology dies, the hole that is left is filled with creative entertainment and expressions reminiscent of times gone past.

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<strong>After</strong><br />

Exhibition statement<br />

Who knew that over the course of this year<br />

our world would become even closer to<br />

the one described in the book that inspired<br />

me to create <strong>After</strong>. 1<br />

I set off at the end of 2019 for two months<br />

of walking. Embroidery in tow, for the<br />

purpose of plunging myself into a digitally<br />

reduced experience. Hiking up and down<br />

mountains, crossing rivers and having<br />

many conversations with fellow hikers<br />

about food, pack weight, weather and<br />

distance. Weather updates were hand<br />

written and left in huts by rangers who<br />

had walked in for this purpose and others.<br />

We were all having a direct experience<br />

of nature, each other and ourselves. An<br />

ever-changing community of intention. At<br />

times I was alone for days. My walking,<br />

punctuated by meals, tea, making fire,<br />

letter writing and embroidery.<br />

A couple of weeks after returning from<br />

the walk the pandemic hit. Life went<br />

from feeling infinite in a natural sense to<br />

infinite in a digital sense. The internet was<br />

utilised like never before to socialise, to<br />

entertain and to document ourselves into<br />

mundanity.<br />

I have always been aware of my screen<br />

addiction tendencies, partly why ‘The<br />

Machine Stops’ captured my attention<br />

so strongly as a text of foreboding.<br />

But I didn’t resist. I became as internet<br />

dependent as everyone else. I went to the<br />

theatre online, documented my attempts<br />

at food growing, documented my dog,<br />

documented myself and spoke most<br />

days with a different friend either through<br />

messaging or video calls. Only to feel a bit<br />

empty.<br />

These two opposing experiences have<br />

fed into the work produced for this show.<br />

I have been interested in what I’ve heard<br />

from others during these times from a<br />

mental health perspective in addition to<br />

my own experience. This imagining of a<br />

future world where nature is valued and<br />

central, where there is deep connection<br />

with others and ourselves and where there<br />

is a return to handmade crafts is not a<br />

new idea. It is an image of Utopia that has<br />

been imagined with slight variations since<br />

ancient times. 2<br />

The recurring motifs of nature throughout<br />

the pieces are inspired both by the art of<br />

6

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