Consumer culture relies upon the human need to continually search. ‘Our desires, our very metabolism and musculature, conspire to keep us moving’ 1, perpetuating the sense that something is missing. This post-modern anxiety to continually search and acquire is propelled by ‘our culture of display, in which the continual presentation of consumable goods – including human beings – appears to be the central task of the social and economic system’ 2.

In an effort to reclaim ‘subjectivity…passion…dreams’ 3, as the essence for human experience in urban culture, this work is an appraisal of feminine identity upon the Melbourne Museum. A lolly-pink skirt protrudes as a flirtatious membrane against the regimented bluestone wall. Activated by human presence, grappling at the membrane produces pockets of oscillating patterns of life, loss, growth, extension and retreat.

1. Casey, Edward S., ‘Getting back into place: Toward a renewed understanding of the place-world,’ Library of congress cataloguing in publication data, 1939, Preface, xii.
2. Aaron Betsky, ‘Display Engineers’, Toward a new interior: An anthology of interior design theory, (New York, Princeton Architectural Press, 2011) 560.
3. Vangeim, Raoul, ‘The Revolution of Everyday Life’, trans. Donald Nicholson-Smith (New York, Rebel Press, 1967), 222.

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