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victoriaRoyds -Research Fellow, Public Memory Research Centre, USQ. -Master of Visual Art, USQ. -Dip. FA, TCAE, Tasmania. -Jewellery Design Cert. Randwick Tech. Sydney   Victoria Royds moved to Toowoomba in 1987 to be part of the blacksmiths team at Weis Iron. Later she was partner in Public Art businesses Banner Art and Designing Women International. Victoria has exhibited widely throughout Australia and internationally. Her work is represented in a number of public and private collections. For more see www.vr-arts.com

Victoria's research concerns the issues that effect women's spirituality and individuality, firstly in relation to the body and secondly in the body's representation in three-dimensional space.

Victoria's current work investigates the body and the process of casting as memory, interface and mimicry - revealing the intimate intricacies of the relationship between the traditional 'model' and sculptor. It reflects upon issues of the female body and women's identity in contemporary Western society. she uses fragments of the female body as both portraits of individuals and to emphasis differences as the norm. This fragmentation of the body also is a metaphor for how our Western society has fragmented and compartmentalised the feminine and the female body.

Victoria is researching the use of Aluminium Trihrydate filled Acrylic Resin (ATFAR)
* ATFAR casting system is currently being developed by the Centre for Excellence - Fibre Composite Design and Development at University of Southern Queensland (CEFCD) & affiliated companies Cordev & Locite for structural engineering projects such & flooring/ decking systems.

Victoria's work endeavours to contribute to growing contemporary interest in the use of the figure in sculpture especially the concern with repositioning the female form within the history or art. This work is not just about women but involves women; they are a necessary part of the process, the procedure, the performance, and the ritual through the act of casting. By presenting the dualities of the feminine through the female body she invites the construction of new meaning, to expose and heal the wounds, and, as in the 16th century myth The Handless Maiden [1], to restore the mechanical hand to flesh and blood.  

Bibliography
1. Johnson, R., Handless Maiden, in The Fisher King & the Handless Maiden: Understanding the Wounded Feeling Function in Masculine and Feminine Psychology. 1995, Harper Collins: New York. p. 53-103.

Victoria is currently exploring the use of Aluminium tridrydated filled acrylic resin as a materail in her sculpural practice and it use in public art. She had been working with the team at the Fibre Composites Design and Development
Centre at USQ and Coredev. see Spin FX (Mia-inflorescence)

Her current exhibition 'Bodies that Matter', plays with the narratives and forms that underpin traditional figurative sculpture with the hope to recontextualise women's bodies and identities.

 

Recent solo exhibitions:
2005-06 Up Against the Wall, Ivory Street Gallery, Craft Queensland, Brisbane
2005 Bodies That Matter: exploring the fragmentation of the female body & women's identity, Metro Arts, Brisbane
2005 A Call to Arms: Re-colonisation of the Feminine, Toowoomba Regional Art Gallery