“That time I was taking the washing off the line with a possum wrapped around one arm talking about the tail end of a wooden snake when there was a loud cracking sound and an old sugar gum very nearly crushed our beautiful baby.”
daisy
7 Nov → 30 Jan 2027
Gallery

opening gathering, 7 Nov, 3 – 5 am

Nicholas Currie and daisy, 'That time I was taking the washing off the line with a possum wrapped around one arm talking about the tail end of a wooden snake when there was a loud cracking sound and an old sugar gum very nearly crushed our beautiful baby.', 2026.

West Space presents a new project produced by ARTIST WRITER WORKER in collaboration with Nicholas Currie, daisy, Wila Marra Jones and family, as part of an ongoing search for futures that haven’t already been redacted, or destroyed.

daisy: In the future, there will be no innocent bystanders, and arguing for the reformations of an inherently broken system will seem like the ultimate absurdity.
Nick: I’d be more scared of the warden than a prisoner or crim.
daisy: I been tryna write some words and make art, and all I really wanna do is find new ways to put a smile on my daughter's face and hear her laugh. But the reality is that I can’t concentrate anyway, and right now I’ve just noticed a perfectly shaped brown log the size of a small human limb wobbling itself into tiny little biodata blobs of fecal nothingness at the bottom of luke warm bath. After this exhibition, I promise — I will never art again. But never mind who I am. I know who I am. Do you know who you are? Ever heard of a Welcome to Country, performed by inmates, inside of a prison?
Nick: Yeah I heard of it, you ever heard of someone being forced to do a Welcome to people they don't wanna welcome onto their Country. In similar circumstances all I've been thinking about is how to play basketball better but then I drift off to thinking about what's the point of it all and what's the use . My dad stands by me and tells me to calm down. You're an artist that's what you are. But I feel I'm more of a bullshit artist most of the time.
daisy: ahh ha, so the cosmic joke is on us, and all those moments will be lost in time, like tears in rain...
daisy and Nicholas Currie, 'Wouldn’t it be nice to do something poetic' (photograph of performance residue), 2026. 2 Channel 4k video. Duration: 4:34 min/s.

ARTIST WRITER WORKER exists within the unceded lands of Dja Dja Wurrung Country and offers the deepest respect to Djaara people, their Ancestors, Elders, Traditional Owners of Djandak past and present, and to a shared future with all First Nations People, community and kin; living, being, memory and place as time immemorial.

That time I was taking the washing off the line with a possum wrapped around one arm talking about the tail end of a wooden snake when there was a loud cracking sound and an old sugar gum very nearly crushed our beautiful baby. is the second West Space Commission for 2026.

This project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body and Regional Arts Victoria. Thank you to Fimeri and Co Fencing, West Space curator Tahmina Maskinyar and technician Zamara Zamara for supporting the project.

Public Program

Saturday 5 December, 2 → 4pm

Join daisy, Nicholas Currie, Wila Marra Jones and family for a discussion about the development of this commission. The program will end with readings of responsive texts to the project by Tabitha Glanville and Tristen Harwood.

Nicholas Currie is an artist and curator working with painting, sculpture and performance. Currie is from the Mununjali clan of the Yugambeh language group, with connection to Kuku Yalanji, and currently lives on Wurundjeri Country in Naarm/Melbourne.

Wila Marra Jones is laughing about learning to paint while exploring the inheritance of matrilineal handcrafting practices and family folklore with her mum. Together they consider the role of nostalgia in the construction and unsettling of colonial narratives.

daisy is a queer koorie artist, writer and worker who embraces the humour and humility of survival and belonging in a schismatic deep-fake post-truth context. daisy's practice fuses noise, data, installation and performance in response to the systemic effects and psychopolitics of global conditioning. While critically charged with ecosocial interruption, their work offers sustainable and spirited challenges to the depravities of discipline and the complacent carceral logistics of contemporary art.