In my work, painting acts as the medium to process the continual displacement I’ve experienced from my collective homes. My paintings are an abstract landscape on which borrowed marks that I find in my everyday life interact with organic shapes. The action of creating negative space is one of moving and hiding - and ultimately bringing a sense of peace to chaos. The act of ‘notetaking’ is where my studio practice begins, it’s a continual process of collecting different marks, colours and textures that populate my everyday life. The marks and colours that I use in my paintings are borrowed; I take them, document them, then displace them into a piece of work. They originate from the journeys I take everyday; simple acts like taking the children to school, an excursion to the playground, to watching the light pass through the leaves as I walk home from the market, the endless scuff marks on an old wall, the colour of a flowering jacaranda against the bright blue sky. I’m continually seeking to observe and capture the rhythm of a season and the geography I inhabit. Through my work I’m trying to make sense of my own movement, both through the larger sense of physical displacement from loved ones and communities now distant, to my own interactions with my immediate geography. The act of displacing marks reflects my own feelings of displacement that I experience and process through painting.
2018 - Return Flight Project MEL>CHC, Blindside, Melbourne and XCHC, Christchurch.
2012 - Onward Compe ’12 Exhibition, Project Basho Gallery, Philadelphia, USA (Finalist)
2009 - Inge Flinte. Uchi. Otago Polytechnic School of Art Gallery, Dunedin.
2009 - Preview: South Island Artists. Centre of Contemporary Art, Christchurch, Temple Gallery, Dunedin (touring show).
2009 - Inge Flinte and Max Oettli. Instructional Models. Blue Oyster Gallery, Dunedin.
2004 - Inge Flinte, Joanna Osborne and Rosy Petterson. Defining Hope, Retort Artspace, Dunedin.
2004 - Inge Flinte and Corin Lines. Design Festa #19, Tokyo Big Sight, Tokyo, Japan.