Tracey Moffatt (b. 1960, Brisbane) is one of Australia’s most renowned contemporary artists. Working predominantly in photography, film and video, Moffatt is known as a powerful visual storyteller. The narrative is often implied and self-referential, exploring her own childhood memories and fantasies, and the broader issues of race, gender, sexuality and identity. Moffatt has had numerous exhibitions in major museums around the world, and most recently represented Australia at the 57th Venice Biennale in 2017. Moffatt has been represented by Roslyn Oxley9 Gallery since 1998.
Tracey Moffatt’s video collage, DOOMED (2007), features depictions of doom and destruction – war, violence and terror – as they appear in cinema, one of our entertainment options. In collaboration with Gary Hillberg, with whom she made Love (2003), Artist (2000) and Lip (1999), DOOMED comprises cut-and paste editing techniques in a highly entertaining and black-humorous take on the bleak side of our current psychological landscape. Moffatt’s film looks at both entirely fictional and reconstructed disastrous events. Each scene carries a particular cargo of references. They occupy their own unique symbolism and filmic territory – the poignant, sublime and epic, the tragic, the B-grade and downright trashy. The accumulation of scenes, however, within Moffatt’s own essaying, creates a narrative whole comprised of parts. Not only does Moffatt play within the ‘disaster’ genre, re-presenting representations, she revels in it. Moffatt points at how the viewer is involved in filmic narratives through the emotionally hook, by the promise of imminent disaster, an important narrative device.