‘The best house possible’: the everyday practices and micro-politics of achieving comfort in a low-cost home
Thrown-togetherness draws conceptual precedents from both cultural geography and contemporary art theory and practice. Thrown-togetherness takes up One and Three Chairs as a conceptual starting point for speculating on the thrown-together home through visual language. The subject for this visual and material process is the artist-geographer's own home, Nicola Villa, a Victorian terrace located in Enmore in Sydney's inner Western suburbs, originally built in 1887 but transformed continuously through the intersection of human and other-than-human presence. Acknowledging that meaning and experience are mediated spatially, Thrown-togetherness explores the home-space of Nicola Villa through three spatial frames: the external, the internal and the interstitial. Each series takes on further specific conceptual drivers and art-historical precedents to generate a visual language for the thrown-together home. The eight images in the interstitial series, three of which appear in the chapter explores other-than-human presence within the domestic sphere, specifically the way other species make home, and unmake human meanings of home, within domestic space.