Femia (meaning: girl/language); “I wanted to establish a relationship to scale and places small in the significant category, fragments of moments, ones where emotive voices matter . . . subject terrain of voice particularly women voices” Often I feel voiceless . . . in the not so distant past, girls were often taught to make their voices small until there was very little of their spoken word on earth. However, the voices of women have always found a mutinous divergent path to cut through history, a grand swell of voices, places of power, strength and resistance. Outside is loud, BIG & boisterous. Where might the quiet, small and subtle live?
Femia establishes a relation to scale and places 'small' in the significant category, fragments of moments, one where emotive voices matter. The places we occupy are not neutral. Community spaces are remade, unmade, constructed and wondered about. The playful can have serious intent. Since 2016 Wright has created work around a myth, a book titled ‘When Women Were Birds’ (by Terry Tempest Williams) became her ‘spark’ book, one that set alight imaginative thought beside the subject terrain of voice. What does it mean to have a voice? Using animation, AR, collage, printmaking, and installation Wright sets about discovering the subtly visual language around that question, not to answer, but rather converse, in the corners of emotive playful expression. Drawing on the spatial aspect of thought, essential to identity, where custodians of varied voices live in unfixed realities, a kind-of subterfuge of urban fragments, Femia is a projected installation, is where this conversation of voice and image animations live.
Corrie Wright is a Queensland-based transdisciplinary visual artist who is passionate about visual communication. Wright's transdisciplinary approach extracts any discipline needed for research and regards no discipline as exempt. Wright shares a unique and distinct area of expertise to scrutinise questions relating to more than one level of reality. Wright’s artwork activates through experience and seeks to adapt to the times in which we are living. Wright invests her work in ‘experiences’ because they calculate shifting functions, incorporating change and process. Wright's goal is to work in different environments that allow artistic risks while testing art methodologies. By working in a diverse range of forms and processes Wright's practice reflects the relational role of art, sitting on the nexus of installation, interaction, collaboration and process.