Mikala Dwyer cant stop doing this: its her strange attractor. This eccentric architecture of the alien visitor who by borrowing, burrowing and building has made part of this world, but only for the time being, their home. In Dwyers idiom, this household is a capricious cocktail of animal, insect and human architecture, but so often impelled and inflected by the fantastic capacity of children to convert and subvert habituated domestic decor into a camp. When children go camping in a sleepover, for instance, they are like migrating species able to inventively forage and transfigure their invaded habitat: upending chairs as bunkers, hoisting bed linen into tents that shade the souks of a caravanserai, or tunnelling and caving inside clothing heaped into stupas or mountains.
Elsewhere, Dwyers camps can assume the fantastic dimensions of crawlspaces between walls or under floorboards or as wormholes through the earth, through organic bodies and through celestial space. This particular encampment is a nest, although without the sentiments of cocooning wellness and refuge that carry connotations of nesting as commercial domestication or political settlement, or the governance of asylum. This is not so much the nest of a bower bird, or even a magpie, let alone a holy dove or imperial eagle, but rather a cuckoo bird. Something alien and vagrant has intruded upon the territorial claim of family or clan, even species.
Among other seeming bric-a-brac, Dwyers nest and its décor are fabricated from oversized versions of Bauhaus designer Alma Siedhoff-Buschers famous 1920s minimalist, modular childrens toy building blocks. Notoriously antagonistic to fairy tales as a burden for small brains, Siedhoff-Buscher steered childs play toward training in the rationality and lucidity of engineered construction of society and even cosmos as well as of the built environment. But Dwyers nest entangles this didactic lexicon with darker, feral fantasies of creation. Golden eggs are brick-like droppings. Bronzed tree branches suggest withered vine shoots, as well as fossilised, fierce talons. Anality, mortality and macabre comedy overtake any proposition of nature and architecture being in some symbiotic or sustainable harmony.
In this cuckoo nest, hospitality is roguishly exploited. Dwyer speaks about planning to have the gallerist and gallery staff costumed in pyjamas as harlequin performers, in a masquerade designed (with Kay Abude) for the opening night. A pyjama party? Maybe theres a playful allusion to the Playboy mansion parties and their host Hugh Hefners iconic outfit. But these pyjama patterns are overprinted with behavioural commands, stage directions for playing a bird: preening, flying
dying. I suspect a mischievousand somewhat sinisterfigure is hosting this sleepover.
Around the walls, the colliding Vorticist abstraction of Dwyers paintings suggests a flurry of landing or departing birds wings, although not in panicked or ecstatic flight but with a heraldic, glyph-like composure. More like ritual regalia or multicoloured if motley unfurled coats than elemental architecture, their hard-edge facets hilariously assemble into a monumental mock-up of that great phantasmic androgyne of childhood surreality, Sesame Streets Big Bird. This compassionate Aesopian monster is endearing because it manifests almost every childs companionable paragon of mischief, their spectral invisible friend. But while Big Bird nostalgically echoes Mother Gooses lulling bed-time prudence, its costumed exaggeration also insinuates the bogeyman and phallic provocateur, Mr Punch. Children gleefully welcome such demons in. There is a menace in this nest, lurking like a raptor in Jurassic Park.
Have you noticed that in so many movies, whether as agents of evil masters and mistresses or out of instinctual vengeance, birds go for the eyes? In Roger Cormans quirky The Terror, in Dario Argentos majestically insane Opera, or in the exquisite sadism of Alfred Hitchocks The Birds: the emblematic horror is a bird swooping toward a vulnerable upturned eye, and the shocking glimpse of a bloody, empty eye socket as if the beak has not just pecked away the eyeball, but stolen it. And, in so doing, transfigured the eye into another of the bodys erogenous holes: mouth, anus, vagina.
That creepy night-time visitor to childrens bedrooms, the sandman, throws sand in their eyes to make them sleepy. Dwyers visitor and fabricator of this nestis, Id say, more like the devil in E.T.A Hoffmans great gothic story, The Sandman. The eponymous spook of that story plucks out the eyes of children who wont go to sleep, who stay up past their bedtime perhaps to glimpse the forbidden secrets of the adult world after dark. Hoffmans sandman takes their eyes away to its nest on the moon where it feeds them to its squawking brood of bird-beaked children. Dwyers nest might be on the moon or on the earth, but either way the sandmans coming.
Edward Colless, The Sandman is Coming, Art Collector magazine, July-September 2021
Mikala Dwyer (b. 1959, Sydney. Lives and works Melbourne) has been exhibited extensively in Australia and internationally since the early 1980s. Dwyers new temporary public art titled Apparition, was commissioned by the City of Melbourne in collaboration with RMIT University, can be seen after dark at University Square, Carlton (2021).
A major survey exhibition, Mikala Dwyer: A Shape of Thought was held at the Art Gallery of New South Wales, Sydney in 2017-18.The artists large-scale installation work Square Cloud Compound (2015) was exhibited in Encounters at Art Basel Hong Kong in 2015, and later on acquired by and exhibited in the Museum of Contemporary Art Australia (MCA), Sydney in 2015- 16.
Solo exhibitions of Dwyers works were also held at Govett-Brewster Art Gallery | Len Lye Centre, New Plymouth, New Zealand; University of Sydney Art Gallery, Sydney; Australian Centre for Contemporary Art, Melbourne; Project Arts Centre, Dublin; Institute of Modern Art, Brisbane; Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand; National Gallery of Australia, Canberra. Dwyer has been included in numerous significant group exhibitions, including Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia (NGA), Canberra (2020- 21); Monster Theatres, Adelaide Biennial, curated by Leigh Robb, Art Gallery of South Australia, Adelaide (2020); Bauhaus Now!, Buxton Contemporary, Melbourne (2019); Soft Core, Shepparton Art Museum, VIC (2018); Blessed Be: Mysticism, Spirituality, and the Occult in Contemporary Art, Museum of Contemporary Art Tucson, Arizona (2018); Unpainting, Art Gallery of NSW, Australia (2017); Triple Point Of Matter, Foundation Fiminco, Paris (2017); Occulture: The Dark Arts, City Gallery Wellington, New Zealand (2017); Riddle of the Burial Grounds, Extra City Kunsthal, Antwerp, Belgium (2016); Magnetism, Hazelwood House, Sligo, Ireland (2015); Hall of Half Life, Graz Museum, Austria (2015); and The End of the 20th Century. The Best is Yet to Come. A Dialogue with the Marx Collection, Hamburger Banhof, Berlin, Germany (2013).
Dwyers work is held in various public collections, including major state galleries and university collections such as the National Gallery of Victoria, Heide Museum of Modern Art, Art Gallery of New South Wales, NGA, MCA, University of Queensland, Monash University Museum of Art (MUMA), Auckland Art Gallery Toi o Tu0101maki, Waikato Museum, and the Museum of Old and New Art (MONA). She is also celebrated for her various successful public art commissions which include Apparition, University Square, Melbourne (2021); Shelter of Hollows, Sydney Metro Martin Place Precinct (2020); In the Smoke of Ghosts, MUMA (2020); Egg Swing, Royal Womens Hospital, Paddington, Sydney (2012); Windwatcher, Central Park, Chippendale, Sydney (2011); A Lamp for Mary, Mary Place, Surry Hills, Sydney (2011); Swamp Sculpture, Omi Sculpture Park, New York (2006); and IOU, Docklands, Melbourne (2005).
Dwyer is an Associate Professor of Fine Arts at RMIT University, Melbourne. Dwyer has been represented by Roslyn Oxley9 Gallery since 2009.
Bird is Mikala Dwyers fourth solo exhibition at Roslyn Oxley9 Gallery, Sydney.