Utilising a system whereby the ruled grid becomes the vessel for a lexicon of hand-drawn symbols, Madeleine’s drawing practice is primarily engaged with mediating rather than mirroring the world. Placing emphasis upon time and repetition, each work informs the other in an attempt to coordinate thought and stabilise the disorder of the everyday.
The imagery for this body of work is derived from Dawes’ recently passed Nanna’s home, articulating swatches of textural surfaces idiosyncratic of her house. This provides the context for Dawes to elaborate on the significance of her labour intensive and time-based drawing practice.
Through surrendering to this outwardly mechanised appearing process, Dawes finds herself able to enter a space of ‘time immersion’. Within this space, she is afforded the time to process loss, grief, joy. This body of work reminisces on the days waking excitedly to fairy bread for breakfast, using freshly picked and plump tomatoes as substitutes for cricket balls, stolen sips of beer, and summers spent running through the sprinklers or hurtling down the hose-doused tarp in the backyard.