Buzz words they may be, but the
notion of identity formation and production is extremely relevant within
contemporary Australian society. As inhabitants of a relatively young country,
still grappling to find their place in a world embroiled with years of culture
and history, we Australians can become heavily concerned with labelling,
organising and, in some cases, manufacturing an identity that is truly unique.
Films like The Castle and Muriel’s Wedding take the banality of suburban
society and re-imagine it into themes which suggest endearment and pride. Clark
Beaumont have embraced this phenomenon, selecting audio snippets of each movie
and re-creating the scenes within a modern context. Using their own bodies,
they assume the role of lead characters – juxtaposing the original footage with
their comically mismatched reproductions, expertly represented through the
artists’ nuanced movements and facial expressions. Four video works are
displayed within the exhibition space, working symbiotically to create a
narrative of interpersonal and quasi-national relations.
There is an irony in Clark
Beaumont’s work – evident through their choice of audio excerpts. When dealing
with films as well-known and quotable as The
Castle and Muriel’s Wedding, it
can be difficult to separate oneself from phrases such as “straight to the pool
room” or “you’re terrible Muriel”, which are now heavily embedded in Australian
meme-culture. Nevertheless, Clark Beaumont subvert common perceptions through
the depiction of scenes containing few or no recognisable quotes. It is
interesting to note, despite this, the still-apparent familiarity within the
tones and mannerisms each video pieces displays – drawing attention to the
roundedness of these particular identity constructions and revealing an
inherent truth valuable to any true Australian. Through the repetition of
not-so-quotable quotes (“over my head?”/”you have lost faith!”), Clark Beaumont
explore this tension between the known and unknown – thus illuminating the
condition of identity construction through visual culture. These phrases are
assigned importance through their inclusion within the works and yet, through
continual reiteration are stripped of all poignancy – returned to the banality
from which they originated.
She’ll Be Right serves as a delightful reminder that identity
constructs need not be feared, but rather embraced. Clark Beaumont have
produced an outlet through which the general public may re-examine their view
on the Australian identity in order to work towards a future of nationwide
understanding concerning the issue.
She’ll Be Right will remain at Boxcopy until October 20. No excuses
– go see it today. You won’t be disappointed.
This is certainly one for the
poolroom.