Curating Difference is intended as an outlet for various writings ranging from art history, philosophy and politics to issues of identity. Of particular interest is the examination of the utility of art/creative processes in the development of technological, social and political advancements.

The notion of ‘Curating Difference’ arose in the first instance from a Master’s dissertation on the exhibition of Indigenous Australian (Aboriginal) Art. As I tackled the ins and outs of contemporary curatorial approaches in exhibiting art that does not necessarily fit established practices, I became consumed with the idea of exploring alternative modes of address. So called ‘non-Western’ art has been underrepresented and the methods of its display remains fraught and contested in the face of a lack of art historical inclusion. This echoes the relative exclusion of female artists, Indigenous or First Nation peoples, African art, Asian art and so on from the canon of Western art history and in the making of modernity. In a sociopolitical atmosphere where we increasingly lean towards permanent states of incommensurability, it is important to stay aware of how we perceive and articulate the ‘differences’ we see in each other.

Art in its various expressions – as distilled fragments of the human experience – are encased in frameworks, interpreted widely, reduced and expanded, critiqued and praised. This is a personal account of my experience with art, society and life in general, and an extension of the creative ventures that emerge from my encounters with them.