Abstract

This essay details the manifestation of the artwork Home Ground, including its subsequent iterations, to explore how an artwork might function as both an expression and extension of narratives associated with its author, Steven Rhall. This exploration begins with a consideration of the ways in which various contextual frameworks inform ‘subjective decisions’, for example, coloniality, and process-led making. I identify as a Taungurung man but I live in a colonised society, experiencing cultures tied to each positionality in the contradictory, complex overlapping contexts of everyday life. The essay takes interest in how these frameworks also shift as the iterative work unfolds in new temporal and geographical locations, ultimately emphasising the interrelationship between author, narrative, and wider contextual frameworks. The essay then moves to consider how the narratives spurred in the art-making process continue to evolve in the author’s absence and in relationship to subsequent audiences. The essay posits itself as a metanarrative in that it acts as an extension of the artwork it is discussing. As such, the essay employs the same photographic images that form the material nexus of Home Ground, thereby further extending the narratives contained in them via the medium of this written text itself.