Miriam Austin’s practice can be thought of as a kind of shadow play. Whether installation, sculpture, video or performance, the work speaks at once of cyclical organic processes and of a form of corporeal vulnerability. It’s material, formal and symbolic properties are devices – narrative, performative, psycho-suggestive – used to give rise to a suspension of disbelief; even to something akin to hypnotic trance. The works open imagined and hybrid territories whose referents oscillate between landscape, animal and body. Her current work focusses on an investigation of specific ritual practices in relation to contemporary theoretical debates around subjectivity, identity and technology, drawing on a range of sources from post humanist theory to psychoanalysis.
Miriam Austin (b. 1984) graduated from the Royal College of Art with an MA in Sculpture in 2012. Recent and forthcoming solo exhibitions include: Rituals for a New Generation (2016), Bosse and Baum, London, An Ear of Corn in Silence Reaped (2015), Grove House, London; Bluebeard (2012), Studio 106, London; Recent group exhibitions include: Groundwork (2015), The New Art Centre, Salisbury; A Sense of Things (2014), Zabludowicz Collection, London; Biothanatos (2014), DIG Space, London; Elements of Religion (2013), Bold Tendencies, London; Happening #1 (2013), The White Building, [SPACE] Studios, London; The Birth Caul (2013), Vitrine Gallery, London; Creekside Open, (2013), APT Gallery, London; Heart of Darkness, (2012), Villa Arson Art Centre, Nice, France. In 2012 she completed a residency at the Villa Arson, France. She is currently working on a collaborative project as part of the collective Universal A (previously called Grand George). The group recently organized a conference at the University of Cambridge (Total Archive: Dreams of Universal Knowledge from the Encyclopaedia to Big Data, March 2015) and the project will conclude with an exhibition and series of events in early 2016.