Kaye Mahoney

Kaye Mahoney

Cruel repressive regimes put children in cages (Telegram #21)
  • dimensions

    130 x 100

  • medium

    Archival pigment print on Ilford textured cotton rag, 310 gsm

  • Represented by

    Represented by Art Atrium (Sydney)
  • Editions

    Edition 1 of 5, signed & numbered, $1,500 unframed. Please email to arrnage purchase of unframed info@artsinthevalley.net.au

  • Artist Statement & Bio

    Kaye Mahoney is a Thai born Australian American conceptual artist. Her wide-ranging expressive tools include video, installations, painting, text, assemblage and music. Many of her works are conceived as platforms for experimentation and interaction. In her early years,after completing an MFA program at the New York Academy of Art, Mahoney trained in Italyand practiced as a muralist specialising in fresco painting. Mid-career, she was representedby Dillon Gallery in Chelsea, New York and exhibited regularly in France and Italy. Sincemoving to Australia, Mahoney’s shows have included a major solo exhibition at the Goulburn Regional Art Gallery, solo exhibitions in Sydney at Art Atrium and a show at Lesley HellerGallery, New York. Mahoney maintains studios in Sydney and France and is represented in Sydney by Art Atrium. ARTIST STATEMENT / DESCRIPTION “Cruel repressive regimes put children in cages – Telegram #21” is part of myTelegram Series, a series of prints derived from a combination of watercolor, gouache, collage and digital processing.The 20 th century telegram had to be urgently delivered and received. They were oftenconfronting. So it is with this Telegram and others in the series. It is completed by therecipient who “reads” the dissonance between image and words.Each Telegram points towards failures in leadership and ethics that have been decades in the making. Today, combined with a deadly pandemic, these failures have erupted into a atoxic mix of suffering underscored by natural degradation, inequality, corruption, cruelty andracial injustice.Some may find real life parallels in the contrast between the beauty of the imagery and thecritical implications of the text. I, for one, am struggling to rationalise how comfort andprivilege can co-exist with the knowledge of hardship and destruction which is the plight ofthe majority of people in the world.