Linde Ivimey uses bones to create intricate sculptures that resonate with personal significance. Sometimes she weaves a mesh using up to 300kg of them – often chicken necks – then moulds it around the contours of a steel frame. Other canvas-based figures may feature fewer bones but provoke a similarly strong emotional response.
Despite being physical evidence of death, Ivimey’s appropriation of bones has an inherent optimism. She focuses on their supportive strength and, by recycling them in her sculptures, they come to symbolise rebirth and new life.
All of Ivimey’s works speak from the heart and some are autobiographical illustrating stories of her childlessness and struggle with depression. In the ‘Bunny’ self-portraits (titled after Ivimey’s childhood nickname) the mesh of bone becomes an armour-like layer protecting her against life’s knocks and burdens.
Ivimey is represented in the National Gallery of Australia and in prominent public and private collections.
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