| kalana grace |
| Kalana Grace is a Sydney-based artist working on Gadigal Country of the Eora Nation. Their practice moves between installation, performance, and material abstraction to explore queerness, intimacy, and resistance. Working with latex, metal, and other industrial materials, Kalana creates environments charged with tension and vulnerability. Drawing on the dynamics of kink, not as fetish, but as a language of power, consent, and surrender, their work builds queer, liminal spaces that destabilise heteronormative frameworks. More recently Kalana has been experimenting with inserting the body into these liminal spaces. Performance grounds abstraction in touch, sensation, and lived experience, transforming materials into companions, resistors, and sites of becoming. By holding spaces that are at once fragile and forceful, Kalana invites viewers into moments of rupture and transformation. Kalana practices art in Sydney, having curated exhibitions at Prop Gallery, Airspace Projects and Puzzle Gallery. @kalana_grace |
200cm x 200m
50 minutes
Bound Forms is a sculptural installation and performance that stages the body in tension with its material environment. Sheets of latex, hand-poured and layered from liquid latex, are stretched, pierced, and pulled taut by chains. These latex skins are adorned, stepped into, wrapped around, and pressed against. They are both fragile and resilient, surfaces that hold marks of care and pressure, resistance and surrender. Movement happens with and through the latex, as the body negotiates its weight, presence, and vulnerability within the skins.
By translating the languages of restraint, resistance, and play into sculptural and performative methodologies, Bound Forms becomes a space where control and consent are renegotiated in real time. The latex functions as both material and metaphor: a skin that stretches but resists, that can be adorned but also ruptured.
My practice centres on building sensorial, immersive environments that I then activate through live performance. In Bound Forms, the relationship between the sculptural installation and the body becomes one of mutual shaping. The performer is bound by the skins, but also transforms them through contact, pressure, and presence. The work is raw, emotional, and physical, offering a site where vulnerability is not weakness but an active form of resistance.