Salmon Pink and Hyper-feminity: What we love about Cream & Bone's installation art.

Paloma Grace Maine (Cream & Bone) is a performance & installation artist based in Sydney.

With an undeniable love for Salmon Pink, Cream & Bone creates life-size works that take you to a fantasy land, incorporating natural and human-made elements.

J - So I know very few people who make installation art in comparison to other mediums. What compelled you to pursue performance and installation art?

P - The physical and imagined boundaries that we as humans place on ourselves are the blueprints for the constructs we call space. For as long as I can remember I have always loved playing with space. I love the tactility of performance and installation, it allows me to exist in, physically experience, interact with and make real my imagined spaces. When I was young I was constantly rearranging the layout of my bedroom or building an elaborate sheet fortress that spanned from one end of our house to the other (our house was small but my mum used to make it fun and tell us we lived in a dollhouse). When I finished high school I completed my studies in Interior design and decoration, however I needed something that allowed me to push my boundaries a little further.

J - The majority of your works contain salmon pink, is there any reason why this pattern occurs?

P - My addiction to this yummy 1950's dusty salmon pink colour isn't something I have ever been able to give reason for. The closest Freudian excuse that comes to mind is possibly this toy I had when I was really young. It was a plastic jar of cherries that came with a mint coloured spoon with a retractable cherry (that contained an artificial flavour) it would snap back when you applied pressure to the utensil. It was everything you would want to eat, but you couldn't eat it. I don't think I've figured out why that's so important to me yet.

J - You tend to focus on female beauty and grooming, where does this stem from?

P - There is a power in taking care of yourself, bathing and hygiene. I am specifically interested in the psychology behind the deliciously manipulative aesthetic of female-targeted product packaging. My most recent inspiration came from cold power sensitive touch washing powder. When I saw the pale blue and pink packaging, a completely resolved conceptual work came to mind. I like to re-imagine the roles that are placed on women and place the audience in a context that demonstrates the absurdity of those roles. The aesthetic of a space has the ability and the option to superficially disguise or reveal the truth about a space (a person or a place). For example what I'm working on at the moment is a performance that will include a group of my closest girl friends that I will quite literally be ironing out. The set that this will take place in is imagined from elements that relate to the domestic laundry setting. Dreamlike and metaphoric, my hyper-feminine spaces are a depiction of the double standards placed on women by society and those we place on ourselves.

J - Does music play any role in your creative process? If so, how?

P - Music sets the atmosphere for my spaces. It plays a crucial role as a means of inspiration but I also use it as a sort of metronome to set the pace for my body movements during performances. If I can choose a song I feel like listening to, often I will wear headphones and this keeps my movements natural and honest. I try to avoid performing and am constantly practicing the art of being. When you place yourself in the spotlight without a routine it is an honest thing.

J - Who is currently your favourite Sydney-based artist and why?

P - Hayden Fowler is my biggest influence in terms of Sydney-based artists at the moment. I've been working for him these past few weeks, installing for the recent upcoming show at the MCA - New Romance: Art and the Posthuman. The reason I like Hayden's work is because his practice combines and blurs the lines between the natural and the artificial. In my opinion he has the ability to see things as they are or better yet as they could potentially be. There is honesty in his work that both repels and satisfies the primitive.

 Check out Cream & Bone HERE