“Making artwork is a necessity for me,” says Chris Fox. “It is something that I always come back to in my diverse practice.” Having established himself as one of Australia’s most significant contemporary artists in his 20 years of making work, first coming-of-age as part of the important Imperial Slacks collective, Mr Fox is best known for his large-scale, architecturally rigorous structures that disrupt, expose or playfully interact with their surrounding environment. Such works have been showcased as part of Sculpture by the Sea (2001), the Sydney Opera House (Sketch Lab, 2010), Global Switch Data Centre (Paris, 2011), and Cosmic Love Wonder Lust (Sydney College for the Arts, 2015).
Given the disparity of his practice, does he identify an underlining artistic thread of sorts? “The term ‘para-functional’ is something that I have recently come to in reflection back on the 20 years of making work,” says Mr Fox. “There is often a paralleling function to all the works, a sense of use of potential use within a paralleling world. In our world the artwork stands, starts and ends as an art object, but the art objects itself is suggestive of some other reality where the object participates in a task that integrates technology, environment and architecture.”
Photography Liz Ham | Styling Jolyon Mason
Grooming Linda Jefferyes | Hair Sophie Roberts