Anna Nazzari is a Perth-based artist and writer. Her art practice often investigates the human othering of animals through sci-fi, horror and supernatural themes. Her artwork is multi-faceted and can include sculpture, video, drawing and photography. In 2021, Nazzari curated and exhibited work in Totemism: Climate Altered Species at Spectrum Project Space. She was also included in the Edith Cowan University and National Art School exhibition Darkside and exhibited in Transmigrations at Nyisztor Gallery. In the recent past, she worked in collaboration with Erin Coates to produce a suite of Oceanic Gothic films Dark Water (2019), Open Water (2017) and Cetaphophia (2015). Her collaborative and non-collaborative screen-based works have been shown at numerous international and national film festivals. She has also exhibited both locally and interstate, and in 2020 was included in the prestigious Monster Theatres as part of the Adelaide Biennial. In 2011, she completed a Doctorate of Philosophy (Art), which analysed the absurd fate of gender ambiguous narratives. She currently works as a Lecturer at Curtin University’s School of Media, Creative Arts and Social Inquiry, via the OUA Art Studies program.
What does Hatched mean to you?’
I exhibited in the Hatched: National Graduate Show at PICA in 2003. I remember being absolutely thrilled when I was selected, because even though Hatched was relatively new, the exhibition already had a great reputation and carried huge prestige. For me, this selection legitimised my art practice. It meant all of my outrageous ideas and weird experiments suddenly had a voice, stage and audience. In addition, as a country kid who hadn’t travelled much, it was so exciting to be exposed to other Australian graduates’ work, and to experience different views of the world through their art lens.
My work in the exhibition was a series of Roadkill Rabbit Machines. The machines were constructed out of cast aluminium pieces, old toys, electronic components and remnants of roadkill rabbits. The machines all moved and could be operated by remote control. The work was displayed on light boxes, which limited movement. One of my fondest memories of the exhibition was watching multiple audience members squeal when a rabbit arm, attached to a cast aluminium form, suddenly started to move.
I also did a radio interview for Hatched. As a recent graduate, this was my first interview as an artist. I felt really nervous and was certain I had bumbled over my words. Over the next few weeks though, people approached me and said my interview was fascinating and had given them new insight to the work.
I am not sure if, once you finish a degree, you always feel like an artist or know how to fully function in the artworld. There is no doubt in my mind though, that the Hatched: National Graduate Show set me on the right pathway. The exposure and opportunities it afforded meant that I have maintained an art practice and have been exhibiting regularly ever since.
