ABSTRACT
Reflecting on our local art community it is interesting to note that one of the impacts of relational practices has been a renewed interest in the strategies of 1960s post object art and artists. While fraught with the social politics of a primarily white middle class art world engaging 'the other' in an attempt to expand audience, this has led to an expansive notion of collaboration, one in which audience and community are ascribed agency. Renowned New Zealand artist, Julian Dashper, while geographically isolated from the art centers in Europe and America, operated as an internationally networked artist and often addressed this distance in his work. Artists utilize the limited means available locally to produce site-specific projects throughout the surrounding countryside and in the private homes of the village. Shannon's work has often presented affectionate details of her domestic and artistic life, both that shared with Dashper and other artists.
