Natasha Frisch is an artist who employs modest materials, such as tracing paper and tape, to construct models and installations that closely approximate everyday objects and sites. Designed specifically for one space, the fragile and impermanent nature of the materials used ensures that the installations are temporary constructions, existing only for the lifetime of the exhibition. If the work is to be shown again it must be re-made and all that remains of each iteration is photographic and video documentation. Inspired by urban folklore, forgotten architecture and the natural world, Natasha’s meticulous constructions aim to challenge our reading of the built environment, and interrogate the slippage between the real and the unreal.
Natasha completed her Bachelor of Arts - Media Arts - Honours at RMIT University, and since then has exhibited consistently both within her homeland and internationally. Her work has been presented in several solo exhibitions including, Somewhere In Between, Dianne Tanzer Gallery + Projects, 2010; Nasty Little Piece of Work, Next Wave Festival, 2004 and Living, Artbox at Sherman Galleries, 2001.
Natasha’s work has also been featured in numerous group shows, a selection of which includes Holiday Salon, Lesley Heller Workspace, New York 2015; Flora Society, Gallery Factory, Seoul, 2014; The Last Brucennial, Vito Schnabel & The Bruce High Quality Foundation, New York, 2014; Paper Scissors Rock, Dianne Tanzer Gallery + Projects, 2011; Grow Wild, Utopian Slumps, 2008; Elsewhere, Nellie Castan Gallery, 2007; Pleasures & Terrors- The City, Blindside, 2006 and Papercuts, Monash Museum of Art, 2003.
During 2012 Natasha was an Artist in Residence at the Contemporary Artists Centre: Woodside in upstate New York and spent a month in Murray's Cottage as part of the Hill End Artist in Residency program in regional New South Wales.
In 2013 Natasha was an Artist in Residence at The New York Art Residency and Studios (NARS) Foundation and presented her first solo international exhibition On a Good Day at Gallery Brooklyn in New York, the project was assisted by the Copyright Agency Cultural Fund, American Australian Association, The Ian Potter Cultural Trust, The National Association for the Visual Arts and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. In 2015 she traveled once again to the United States to participate in the Artist in Residence program at Vermont Studio Center.
Recently Natasha's work was selected for the biennial exhibition CODA Paper Art 2017 at CODA Museum in The Netherlands and as cover art for the album Drums and Drones III: Acoustic by Brian Chase of the Yeah Yeah Yeahs.
Natasha's work is held in private collections within Australia and the United States and by CODA Museum.