Know My Name

Abstract

Several of Justene Williams’ major projects over recent years have been inspired by early twentieth‑century modernism. Channelling Dada cabaret or Futurist opera through a lens of Australian suburbia, she uses mass‑produced objects, digital collage and redundant technologies, adopting the colour and textural excess of a shopping centre, musical theatre or strip club. The artist’s ‘baroque grunge’—the term captures the action, energy and emotion of her practice, three constants in her oeuvre—combines performance, video, costume and sound.(1)