THE FRAGILITY OF GOODNESS

Left: Elizabeth Day, The Fragility of Goodness, 2003, knitted baby wool, installation, 300 x 400 cm approx. Right: Elizabeth Day, The Fragility of Goodness, 2003, unravelled balaclavas, framed, 60 x 60 cm. Installation view, Conny Dietzschold Gallery, Sydney. Photo: Florian Schaeffer.

The Fragility of Goodness, solo exhibition at Conny Dietzschold Gallery, Sydney, 2004.

The Fragility of Goodness, (Conny Dietzschold Gallery, Sydney) consisted of an open-ended structure of white wool knitted into a form of delicate, but haphazard, organic dimensions. Emblematic of chance and randomness, it was the paradoxical product of the strict repetition of knitting-as-process [knit a row purl a row], reminiscent of biological or genetic programming, while evolving without a blueprint. Chaos and order struggle within the unfinished form, which, exhibiting a certain vulnerability, gathers atmospheres and associative metaphors loop by loop. The gossamer fine angora, registering, by association, the helplessness of human young, is suggestive of the frailty of life itself; the near nothing of a tentative yet sustained beginning, pitted [knitted] against the void.

Excerpt from Ann Finegan, Segmentarity and politics of incarceration: Elizabeth Day’s “Notes from the Castle“, 2004.

Elizabeth Day, The Fragility of Goodness, 2003, knitted baby wool, installation, 300 x 400 cm approx. Installation view, Conny Dietzschold Gallery, Sydney. Photo: Florian Schaeffer.