https://sophiegnixon.com/projects daily 1.0 2026-03-19 https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1509515223484-KD2ZV8YLUBOA6ZJKM3EO/DSC_1667.JPG PROJECTS - About HOUSE/HOME HOUSE/HOME was a part of Heathcote Select, a group exhibition of seven emerging West Australian graduates at the City of Melville's Heathcote Museum. Nixon exhibited alongside Ellen Norrish, Jessica Hart, Emily Hornum, Nikki Lundy, Alexander Tandy and Matthew Pope Their site-specific body of work was created in the last few months of their old and decaying rental home in Wilson, WA. Nixon engaged with the house materially as an act of bereavement, memorialisation and preservation. Additionally, Nixon wanted to consider how the re-representation of the site-specific series would interact with Heathcote’s history. HOUSE/HOME acts as record of the Nixon’s time lived in that house and the connection between nostalgia and home. https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1650429469471-NCQ9MIYO7KR6HMV314ZX/image-asset.jpeg PROJECTS - Healing and Repair All photographs by Annie Harvey Healing and Repair, was a group show curated by Effie Windburg in January 2021 at PS Art Space, Walyalup/Fremantle WA. This body of work created for Healing and Repair was born from playful and humble intentions: patchworks that are each their own formal exercise in shape, colour, repetition, line, and texture. These intuitively made works make gentle references to the warp and weft, or grain, that form woven fabrics, and embraces both the ‘right’ and ‘wrong’ sides of a textile. https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1509515480252-4G1HCCW0UOEJ6IYOP6CH/DSC_1487.JPG PROJECTS - About Borders and Transitions Photographed by Cherina Hadley Borders and Transitions was a group show curated by Claire Bushby and Aisyah Aaqil Sumito in the City of Perth’s light lockers in the Roe/James st car park arcade, Northbridge. The show features artists Sophie La Maitre, Marina Van Leeuwen and Sophie G Nixon who created site-specific work individually and collaboratively. Artist statement for Smother: Smother explores processes of kindness and cruelty, through Nixon’s treatment of the plant Belladonna (Deadly Nightshade, Atropa Belladonna). Nixon ‘rescued’ this resilient plant growing through cracked pavement in Nick’s lane, Northbridge. While Belladonna is notorious for it’s deadly potential it’s lesser known for its healing abilities in medical history. Smother hopes to change perceptions of an unwanted, poisonous and invasive weed by placing Belladonna in a safe and nurturing environment, as an attempt to value its healing ability. Nixon’s treatment of the plant through stitching, pressing, felting and dying borderlines between harming and healing. https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1551262077399-SYCNEJ1AN04JIRGJFY10/3_HR23.jpg PROJECTS - About Wearing is Loving All photographs by Laura Sikes Wearing is Loving presents select works from Sophie Nixon’s honours year at Curtin University. In this body of work, worn and damaged garments of personal significance to Sophie are altered through the use of plants. Pressing and crushing flowers over tears, sprouting grass seeds through felt, encouraging roots to stitch together worn fabric. These garments are imagined as second skins or past selves, deliberately using plants to create unconventional stitching and abstracted modes of repair. In Wearing is Loving, repair is not defined as a whole or ‘fixed’ outcome, rather, emphasis is placed on the embodied act of repairing. https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1547361191373-9VOC8IEPWIJCX74JLD4W/DSC_0317.jpg PROJECTS - About To Wear and Repair To Wear and Repair is the body of work Sophie created during their Honours year at Curtin University in 2018. Their creative practice-led research draws on their experience of depression, and asks: how might materially engaged and repetitive crafting driven practice create narratives of repair that subvert a whole, cured and fixed outcome? The project explores personally significant worn garments that have lived through their experiences of depression; investigated through the deliberate manipulation of the artist’s worn garments through repetitive crafting and the material language of plants and textiles. To read Sophie’s exegesis and know more about this body of work, you can reach them at sophiegenevievenixon@gmail.com https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1715936398428-E8YQSLMAC3UT12F38IXF/flowerbed.png PROJECTS https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1715936833146-UJLIL9ONODP4XT0R6Z44/DSC_0898+2.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1715937454811-59CBJ5CDP1G18FZ2Q7ER/DSC_0978.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1716056283001-PE2N4QDK43M3HESW7FEJ/DSC_1353.jpg PROJECTS https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1650004570483-5PJJAVXRI4RZY39ESRAG/DSC_1417+2.jpg PROJECTS - About Many Threads Many Threads is a new body of work by Sophie G Nixon. Both installation and soft sculpture, this exhibition consists of large scale and wall-based textile artworks; some of which are sewn and finished neatly, others frayed and worn. Many Threads is composed of material interventions with reclaimed textiles. Through the integration of traditional sewing techniques such as patch-working, weaving and quilting, alongside a more intuitive sewing style, their approach places process above technical perfection. This body of work engages with the grid pattern of plain woven fabric that is formed by the warp, and the weft. In Many Threads, this grid pattern is adopted as a motif, representing relationships, bonds and connections, a material narrative that foregrounds notions of intimacy and repair. https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1716208072731-WX2LW3IJCJQ373I4CUNC/DSC_0356+%281%29.JPG PROJECTS https://images.squarespace-cdn.com/content/v1/59f953b1f6576ec85bc72f70/1773902537023-UB8HUOE24JQYRN0DKIZB/DADAA+-+Remember+the+Blue+Sky+-+DZuks+-+May+2024+-+34.jpg PROJECTS - Amalgam (2024) installed for Remember the Blue Sky at DADAA Fremantle All photographs by Danika Zuks Artist statement from catalogue: ‘Amalgam’ is a celebration of interconnectedness amongst the chaos, where no piece is greater than the sum of its parts. Crafting this work has immersed me in a dream-like flow state, allowing for rumination on deep time and its reflection in materials. Working with an array of found objects, such as metals and stones, pearls and bones, I feel as if I'm time-travelling, journeying from the depths of our earth to the expanses of space, from the micro to the macro. How did all of this come to exist? How was it made or composed? What is newness? Where will these materials be once I’m gone? During the creative process, I reflected on my underlying concerns surrounding consumption, material hierarchies, and the perceived value of resources. The anxiety I feel, that we humans are rapidly eating through the planet's resources, continually mined, melted, mixed: made new again and again. A machine that won't stop making. In response to these concerns, I slow down and focus on what's available in my surroundings, and what hidden objects can be given life. I observe closely, touch, and play with different materials, questioning their origins and contemplating their longevity. Through the making of ‘Amalgam’, I endeavour to honour the human labour and environmental energy invested in these earthly resources. https://sophiegnixon.com/c-v daily 0.75 2024-03-12