The Coal Loader, 2 Balls Head Drive, Waverton

Please Don’t Shoot, 2019, kinetic assemblage, 24x58x18cm

Reminiscent of fairground games such as Laughing Clowns and Shooting Galleries, this work was made in response to the thousands of ducks that are shot for sport every year during duck hunting season in Australia. On winding the key on the side of the work, the decoy duck heads turn from side to side in unison.
Materials: vintage wooden decoy duck heads, vintage wooden utility box, painted timber inlay, timber, handmade mechanical parts, and music box movement.

 


The Collector, 2018, 17x10x10cm, kinetic music box assemblage

The Collector is on exhibition at the National Gallery of Victoria, by invitation of Scott Weston Architecture Design in their submission to the Rigg Design Prize, Domestic Living.

This work references: John Fowles dark novel, The Collector; the effect that pesticides are having on the insect world; and the selfie world we inhabit.
materials: reconstructed vintage tin, reconstructed vintage toys, mechanical parts, epoxy resin, metal, timber, plastic, paper & acrylic paint

 

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These kinetic artworks are in a 3 person exhibition, based on the art of assemblage, at Stella Downer, Fine Art, Sydney until 4 November, 2017. The other artists in the exhibition are Liz Shreeve and Annabel Butler.

The Wager

Mother and Child

The Devil’s in the Detail

Holdsworth inserts light into her works, creating a sense of film noir in the dark nooks and crannies of her interiors. Working with found and made objects she creates intimate narratives that move from the nostalgic to the dark and subversive. In this series of works, Holdsworth engages with the Kewpie Doll, refashioning it into grander imaginary narratives – from dancing with the devil to Madonna and Child and an interior of a radio that recalls the glory of Pharlap and the races. 
Excerpt from catalogue essay by Lucy Stranger