ALINE
JOYCE

Artist Profile:

Aline Joyce’s work focuses on the immersive nature of interior design, likening it to living 'inside a painting.' Her practice seeks to enhance a state of being, particularly in times of illness, where the capacity for physical exploration diminishes, and the boundaries of one’s world shrink, as seen during the global lockdowns. In this context, her works become epitaphs of unfulfilled ambitions or idealized depictions of distant places—a hologram, or akin to an old film projector. These paintings symbolize locations of beauty, culture, history, and are imbued with a colour palette that reflects the richness of life. Comparatively, as these works adorn the walls of the home, they become catalysts for disassociation from the mundane or repetitive nature of daily life—especially when confined within a room or a lethargic body.

In Aline's oeuvre, fantasy and daydreaming play crucial roles, with the harmony of the works representing the artist's attempt to 'reach' these places, to be absorbed within them. Traditionally, her larger-scale works, designed to be viewed up close, envelop the viewer's peripheral vision, creating an immersive experience within the image. However, as mobility increasingly became a challenge, the scale of her canvases condensed into smaller, more manageable sizes, shrinking from 90 x 120 cm to 30 x 40 cm. This reduction in size mirrors a narrowing worldview, reflecting the artist's own physical limitations.

The undercurrent of Aline's work lies in the nature of the mind—its capacity to step out of reality when necessary, to dissociate for the sake of self-preservation. A recent piece, Eucalypt Daydream, exemplifies this approach. Painted during a period of illness and confinement, the work contemplates the serene beauty of the Australian landscape alongside the artist’s internal world. It reflects a deep engagement with the aesthetics of both natural and constructed environments, utilizing thick, textured brushstrokes to create a tapestry-like effect that invites viewers to explore the layers of meaning within the work.

Incorporating elements of textiles and tapestries, Aline’s recent works draw on the historical significance of these labor-intensive mediums as tools of communication and markers of status. She references the Medici family’s appreciation of tapestry as a medium, and its subsequent influence on other practices such as painting and sculpture. Her work acknowledges the tension between the artist, the craftsman, and the patron—often with the works themselves being weaponized as forms of status propaganda.

Aline’s practice investigates how these layered aesthetics contribute to our understanding of identity and the ways in which we project ourselves within society. By reinterpreting traditional motifs and materials, she challenges viewers to reconsider the narratives embedded in everyday objects and spaces. Her work delves into the ways in which these environments influence our psychological states, societal structures, and personal identities. Through the use of rich textures, layered compositions, and repetitive processes, Aline demonstrates a measure of 'devotional' practice reminiscent of illuminated manuscripts, iconography throughout antiquity, and interior adornments. The repetitive layering evokes both the opulence of historical art forms and the introspective quality of modern life.

With formal training in Fine Art, focusing on Painting and Sculpture at the College of Fine Arts (COFA), Aline has expanded her intellectual and creative horizons through studies in International Relations (UNSW), Philosophy (Monash), Psychology (Open University), Economics & Nonprofit (Harvard Business School), and Character Design & Prosthetics (3Arts). This diverse background allows for a nuanced exploration of complex themes within her artwork, exploring the inner world of experience and the expression of humanistic connections.

Aline’s sociological interests are also evident in her ongoing body of work, Salon des Refusés. This project involves working with discarded items, repurposing them into an installation depicting a royal sitting room—a space traditionally used to host political guests and people of significance to the Queen or head of state or church. This installation, set to be exhibited in 2025/2026, reflects on societal status and those 'refused' by society, weaving a narrative that critiques and reimagines these hierarchical structures.