About
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 attained a Bachelor of Arts in Media Arts, Honours from RMIT University and since then has exhibited consistently both within her homeland and internationally. Her work has been presented in several solo exhibitions including, Nowhere, 3331 Arts Chiyoda, Tokyo, Japan 2019; On a Good Day, Gallery Brooklyn, New York, USA 2013; Somewhere In Between, Dianne Tanzer Gallery + Projects, 2010; Nasty Little Piece of Work, Next Wave Festival, 2004 and Living, Artbox at Sherman Galleries, 2001.
Her work has also been featured in numerous group exhibitions, including Paper Art 2017, CODA Museum, The Netherlands 2017; Holiday Salon, Lesley Heller Workspace, New York, USA 2015; Flora Society, Gallery Factory, Seoul, South Korea 2014; The Last Brucennial, Vito Schnabel & The Bruce High Quality Foundation, New York, USA 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.
Natasha has been an Artist in Residence at AIR 3331, 3331 Arts Chiyoda, Tokyo, Japan 2019; Vermont Studio Center, Vermont, USA, 2015; The New York Art Residency and Studios, New York, USA, 2013; Hill End Artist in Residency Program, 2012 and Contemporary Artists Centre: Woodside, Troy, USA, 2012.
She has received grants from National Association for the Visual Arts 2013/2018, Vermont Studio Center 2015, Copyright Agency Cultural Fund 2012/2013, American Australian Association 2013, The Ian Potter Cultural Trust 2013 and the Australian Government through the Australia Council for the Arts 2013.
Recently her work was selected 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 the USA, Japan and Australia and by CODA Museum in The Netherlands.
