2018, Glass Reinforced Urethane Resin (Images Grant Hancock)
2015, 27x21x28” Plaster
2015 120x77x96"
Polyurethane resin, wood, steel, decomposed granite, moss, glass, brass, led lighting, cotton fabric.
2014
Polyurethane resin, steel, fiberglass boat, wood, paint, bronze, rope.
Audition, Scene 1: In Love 2013, 103”x76”x99 ½”
Audition: Scene 2: Love Object 2013, 103x150¾ ”x99 ½”
Fiberglass reinforced polyurethane resin, polyurethane foam, oil paint, 'Mirrorpane' glass, 'Steelcase' cubicles, aluminum, steel, carpet.
© Kristian Burford
Last night you brought a man up to your room after having a late drink at the hotel bar. Knowing that you are HIV positive you had sex which caused him to bleed. After a day of meetings you now return to your room.
2011
120x204x456"
Supported by the Australia Council for the Arts
Fiberglass reinforced polyurethane resin, polyurethane foam, oil paint, glass eyes, wood, carpet, mirror, wallpaper, acrylic house paint, briefcase, pen, stationary, room service cart, table cloth, cutlery and crockery, pampas grass, telephone, lighting fixtures, electric motor, various furnishings.
Collection Francois Pinault
© Kristian Burford
Rebecca has returned to the house in which she grew up to convalesce after waking from a coma three months ago. She awoke to discover that her body was paralyzed from the neck down. The accident occurred late in the afternoon of a warm July day. A dive into murky water which concealed a large tree limb, that floated away as invisibly as it had approached, left her with a broken neck and a severe concussion. Her injuries were efficiently inflicted. Her only disfigurement was a lump raised at the back of her head that remained concealed beneath her auburn hair. The modesty of the spectacle belied its dramatic effect on those who witnessed it. The climax of anticipation, produced in the silent period between a diver entering the water and his subsequent revelation at its surface, was powerfully enhanced in the moments that marked Rebecca’s submersion as unusually long. This left the swimmers who witnessed the gentle resurfacing of her unconscious body momentarily incapable of action, as if they were unable to conclude that they were looking at the same body which had recently entered the water.
In hospital Rebecca’s unconscious body was bathed, massaged, and nourished intravenously. On the morning of her 164th day of hospitalization, a nurse noticed that her closed eyes were reddened and puffy and that the pillow supporting her head was dampened where it touched her cheeks. The jubilation occasioned by her awakening was impossible for Rebecca to involve herself in. Thankfully for her, this excitement subsided after she returned to her childhood home to begin an indefinite convalescence. In the three months that have passed since her return, she has endured a sparse but consistent pattern of visitations from friends and family brave enough to witness the wretchedness of her condition—or innocent enough to fail to comprehend it. Friends have normally appeared during the week, thereby containing the duration of their visits to the period between work and dinner. Relatives, however, owing to a compulsion to mobilize their entire families and make of their visits a kind of reunion, have invariably chosen weekends.
This weekend has proved no exception. Her sister has driven from a neighboring state with her two young daughters, who are Rebecca’s godchildren. Late in the day, in the privacy of her room, Rebecca has instigated a game with her nieces, Olivia and Simone. The game consists of the girls dressing Rebecca up as a character of their choosing, and Rebecca then interpreting their partial creation by devising speech patterns, dialogue, and facial expressions to complete the character. In the first round of the game, Rebecca was dressed in an incoherent medley of the fancier garments to be found in her mother’s wardrobe, which she complemented by talking very properly of charities and musicals and performing very deliberate facial expressions.
A second round was begun in which the girls were inspired by a favorite picture book which documents the dancing partnership of Margot Fonteyn and Rudolf Nureyev at the Royal Ballet. For this costume they removed Rebecca’s nightgown and posed her body so as to approximate a dancer’s position. They then began to apply her costume which consists of various undergarments and a pair of slippers collected from their grandmother’s wardrobe. To celebrate their dancer the girls have strewn flowers sent from well-wishers on and around Rebecca’s body. Simone, the younger niece, has run outside to the garden on a mission to obtain more flowers where she has been observed by her mother and grandparents in the act of harvesting her grandfather’s carefully tended roses. Recognizing that Simone has taken an excessively long time to return to her room, Rebecca has correctly surmised her circumstance and now considers the certainty of her own discovery with satisfying indifference. Olivia hides in the closet behind Rebecca’s bed.
2006
Supported by the Australia Council for the Arts
189x120x290"
Fiberglass reinforced polyester resin, polyurethane foam, oil paint, natural and synthetic hair, catheter, slippers, ribbon, necklace, negligee, fur stole, various articles of clothing, wood, wall paper, convalescent bed, bedding, wheel chair, artificial flowers, ceramic and glass vases, various furnishings, geared electric motor and connecting hardware, book, carpet, rug, telephone, glass vessels containing acrylic medium and decorative straws, mirror, umbrella, toilet bowl, crystal chandelier, fire tools, fire grate, fire screen, electric fan, diving snorkel, children's sport shoes, leather ladies shoes.
© Kristian Burford
During the later period of Christopher’s residence at boarding school he learnt that, if the hand of a sleeping boy were to be submerged in tepid water, the boy would be made to wet his bed. After the passing of a number of years, this knowledge has provided him with the subject for a short video. He is producing the video alone, on this Sunday evening, in a room that once served as his mother’s sewing room. In the years between her death and Christopher’s present production, it has contained a small number of disused items that have failed to find a home elsewhere in the apartment.
2002
96x120x96"
Fiberglass reinforced polyester resin, polyurethane foam, oil paint, synthetic wig, human hair eyebrows and eyelashes, video camera with tripod and case, television, various suit cases, 'National Geographic' magazines, various natural and synthetic draperies and bedding, sewing machine and table, potted plant, ceramic ashtray with butts, plastic water bottles, hung ceiling (steel frame, stained acoustic panels), crystal chandelier.
© Kristian Burford
It is nine o’clock on a November evening. Kathryn is staying after school at her grandparents’ house. She has escaped their company to play with her grandmother’s cat, named Lucy, by moving into the sunroom of the house. After some minutes of happily petting the cat it has turned on Kathryn, penetrating the skin of her left index finger with its fangs and raising three lines of skin on her left wrist with the claws of its left paw. In response to Lucy’s attack, Kathryn has grabbed at the cat in an effort to disentangle herself from it. She has been fortunate enough to find the cat’s collar with three fingers of her right hand. This has allowed her sufficient purchase on Lucy’s slippery form to remove the cat to the carpeted floor of the sunroom. Kathryn has placed her injured finger in her mouth so as to contain her pain and her blood. She has then recognized that she has wet herself and has simultaneously taken the finger from her mouth.
2001
123x203x123"
Fiberglass reinforced polyester resin, polyurethane foam, oil paint, synthetic hair wig, natural hair eyelashes and eyebrows, silver bracelet, cat's collar, wood, wallpaper, wooden corner cabinets, wood and glass doors with metal hardware, couch, silk bead spread, acrylic medium, light fixture, enamel paint, potted plants, synthetic flowers, snow dome, porcelain decorative objects, mirror in wooden frame, books, balls of colored wool, children's toys, framed photograph, framed pastel drawing, umbrella, synthetic and silk draperies, telephone, ash tray with cigarette butt.
© Kristian Burford
Natalie and Benjamin are playing cubby.
2000
120x140x132"
Polyester resin, polyurethane foam, oil paint, carpet, mattress and bedding, upholstered chair, towel, side table, framed photographs. lamp, crockery, alarm clock, book.
© Kristian Burford
Robert has also lost interest in his garden.
1999
120x96x96"
Fiberglass reinforced polyester resin, polyurethane foam, oil paint, human hair wig, wrist watch, cotton and wool clothing, leather shoes, Glass house (glass, aluminum, steel, rubber, paint), steel shelves, dry leaves, woven synthetic fiber bag, ceramic, plastic and cement plant pots, ficus plant, geranium plants (dead), gardening implements, glass thermometer, potting soil in plastic bag.
© Kristian Burford
12:17pm Melissa, after putting her baby son down to sleep, was continuing renovations to her new home. Before she was finished her painting she has been distracted by an engagement in a new sexual act.
1998
96x96x142"
Fiberglass reinforced polyester resin, polyurethane foam, oil paint, synthetic wig, cotton bath towels, cotton underpants, cotton pants and shirt, ceramic toilet and fittings, and sink, iron bathtub, steel faucets and shower rose, glass mirror, wood, acrylic house paint, ceramic tile, vinyl tile, glass shelf with steel brackets, toiletries, steel door hardware, radiator heater, exhaust fan, electrical wire and wall switch, carpet, paint roller and tray.
© Kristian Burford