JARNAH MONTERSINO
Based in Naarm/Melbourne, Australia, Jarnah Montersino is an emerging artist with a multidisciplinary practice encompassing textiles, sculpture and painting. Often incorporating everyday materials into her work, Jarnah uses her practice to reflect on the human condition. This work draws from her studies, work and research within social science, human rights, art and design.
sculptural objects and paintings. The vessel forms are inspired by structures found in ancient amphoras. A combination of
post-consumer cardboard and layered plaster fabrication create deceptively light, durable and liminal objects. The
paintings are developed using an iterative process exploring abstraction.
Beginning with a pattern of mark-making, the works are cut, reorganised and sewn together in a quilt-like practice.
Layers of paint and found sand are used to further build cohesion and layers across a seemingly disconnected work.
Figurative forms are set in reclaimed frames reflecting on constructed and multifaceted perceptions of self and identity.
A Human Can Fit In The Heart Of A Whale, 2022, acrylic, paper, thread and sand, 84x67cm, framed.
Threshold #6, 2022, acrylic on plaster and cardboard, 23x28x16cm.
Unity of Opposites #1, 2022, plaster, wood, cardboard, paper , 53x41cm, framed.
Threshold #4, 2022, acrylic on plaster and cardboard, 27x36x26cm
In Jupiter, The Rain Is Made Of Diamonds, 2022, acrylic, paper, thread and sand, 64x43cm, framed.
I Think It’s A Piano #2, 2022, acrylic on plaster and cardboard, 80x60x60cm.
Threshold #5, 2022, acrylic on plaster and cardboard, 27x36x26cm.
It’s Full of Tiny Gems, 2022, acrylic, canvas, thread and sand, 37x31cm, framed.
Threshold #1, 2022, acrylic on plaster and cardboard, 28x29x18cm.
Memento Mori, 2022, plaster, wood, cardboard, paper, 44x51cm, framed.
Unity of Opposites #2, 2022, plaster, wood, cardboard, paper, 53x41cm, framed.
I Think It’s A Piano #2, 2022, acrylic on plaster and cardboard, 80x60x60cm.
This collections of work considered the unrepeatable nature of a moment. A series of paintings that codify a recent time, with
each work marked by the precise second in which the piece was completed. Building on this concept further, vessel forms
are built from a combination of post-consumer cardboard and layered plaster fabrication, creating liminal pieces that
reflect interaction, perceptions and time spent with transient material objects. This idea can be observed by the use of
mosaic techniques, incorporating broken plates once used by the artist’s children, solidifying a number of personal and
simple moments in time, honouring the heritage of their uniqueness.
