Les Petites Erreurs (the little mistakes)
Christina Peek, Les Petites Erreurs (the little mistakes) (detail), 2020, customised condoms, dimensions variable
Les Petites Erreurs (the little mistakes)
Christina Peek, Les Petites Erreurs (the little mistakes) (detail), 2020, customised condoms, dimensions variable
Les Petites Erreurs (the little mistakes)
Christina Peek, Les Petites Erreurs (the little mistakes), 2020, customised condoms, dimensions variable
Les Petites Erreurs (the little mistakes)
Christina Peek, Les Petites Erreurs (the little mistakes) (installation detail), 2020, customised condoms, dimensions variable
From Adelaide With Love
Christina Peek, From Adelaide With Love, 2018, install detail, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, From Adelaide With Love, 2018, installation detail, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, From Adelaide With Love, 2018, installation detail, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, From Adelaide With Love, 2018, graphite rubbing on paper, 10 x 10 cm, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, From Adelaide With Love (detail), 2018, graphite rubbing on paper, 10 x 10 cm, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, From Adelaide With Love (detail), 2018, graphite rubbing on paper, 10 x 10 cm, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, From Adelaide With Love, 2018, graphite rubbing on paper, 10 x 10 cm, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
From Adelaide With Love
Christina Peek, Lock and Key (detail), 2018, keys and engraved locks, dimensions variable, photography by Mel de Ruyter
Leeward Bride
Christina Peek and Edwina Cooper, 2018, Leeward Bride installation view.
Vows
Edwina Cooper and Christina Peek, Vows, 2018, vinyl lettering, dimensions variable.
The dress
Edwina Cooper and Christina Peek, The dress, 2018, pearls, sailcloth, ribbon, dimensions variable.
The Shoes
Edwina Cooper and Christina Peek, The shoes, 2018, pearls, leather, dimensions variable.
The shoes (detail)
Edwina Cooper and Christina Peek, The shoes (detail), 2018, pearls, leather, fish scales, dimensions variable.
Eternity
Edwina Cooper and Christina Peek, Eternity, 2018, engraved razor fish shell, dimensions variable.
Neptune
Edwina Cooper and Christina Peek, Neptune, 2018, engraved razor fish shell, dimensions variable.
The veil
Edwina Cooper and Christina Peek, The veil, 2018, bridal pins, sailcloth, timber, dimensions variable
The veil (detail)
Edwina Cooper and Christina Peek, The veil (detail), 2018, bridal pins, sailcloth, timber, dimensions variable
The veil (detail)
Edwina Cooper and Christina Peek, The veil (detail), 2018, bridal pins, sailcloth, timber, dimensions variable
Most Passionate, Most Pure Kiss #1 (Lady and the Tramp)
Christina Peek, Most Passionate, Most Pure Kiss #1 (Lady and the Tramp), 2017, backdrop, table, tablecloth, Chianti bottle, candle, spaghetti and meatballs with red sauce, plate, ceramic pot, breadsticks, dimensions variable (sculptural installation), photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #2 (Ghost)
Christina Peek, Most Passionate, Most Pure Kiss #2 (Ghost), 2017, black paint, checked vinyl flooring, pottery wheel, clay, bucket, cloth, water, bookshelf, ceramic vases, ceramic bowls, lighting, stool, dimensions variable (sculptural installation), photography courtesy of artist, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #3 (Titanic)
Christina Peek, Most Passionate, Most Pure Kiss #3 (Titanic), 2017, backdrop, wood, metal rod, paint, fixings, rope, wooden moulding, glue, dimensions variable (sculptural installation), Photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #1 (Lady and the Tramp)(detail of audience participation)
Christina Peek, Most Passionate, Most Pure Kiss #1 (Lady and the Tramp)(detail of audience participation), 2017, backdrop, table, tablecloth, Chianti bottle, candle, spaghetti and meatballs with red sauce, plate, ceramic pot, breadsticks, dimensions variable (sculptural installation), photography courtesy of artist, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #2 (Ghost)(detail of audience participation)
Christina Peek, Most Passionate, Most Pure Kiss #2 (Ghost)(detail of audience participation), 2017, black paint, checked vinyl flooring, pottery wheel, clay, bucket, cloth, water, bookshelf, ceramic vases, ceramic bowls, lighting, stool, dimensions variable (sculptural installation), photography courtesy of artist, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #3 (Titanic) (detail of audience participation)
Christina Peek, Most Passionate, Most Pure Kiss #3 (Titanic) (detail of audience participation), 2017, backdrop, wood, metal rod, paint, fixings, rope, wooden moulding, glue, dimensions variable (sculptural installation), photography courtesy of artist, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #1 (Lady and the Tramp) (detail)
Christina Peek, Most Passionate, Most Pure Kiss #1 (Lady and the Tramp), 2017, backdrop, table, tablecloth, Chianti bottle, candle, spaghetti and meatballs with red sauce, plate, ceramic pot, breadsticks, dimensions variable (sculptural installation), photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #2 (Ghost)(detail)
Christina Peek, Most Passionate, Most Pure Kiss #2 (Ghost)(detail), 2017, black paint, checked vinyl flooring, pottery wheel, clay, bucket, cloth, water, bookshelf, ceramic vases, ceramic bowls, lighting, stool, dimensions variable (sculptural installation), photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #2 (Ghost) (detail)
Christina Peek, Most Passionate, Most Pure Kiss #2 (Ghost) (detail), 2017, black paint, checked vinyl flooring, pottery wheel, clay, bucket, cloth, water, bookshelf, ceramic vases, ceramic bowls, lighting, stool, dimensions variable (sculptural installation), photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #3 (Titanic) (detail)
Christina Peek, Most Passionate, Most Pure Kiss #3 (Titanic) (detail), 2017, backdrop, wood, metal rod, paint, fixings, rope, wooden moulding, glue, dimensions variable (sculptural installation), Photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Most Passionate, Most Pure Kiss #3 (Titanic) (detail)
Christina Peek, Most Passionate, Most Pure Kiss #3 (Titanic) (detail), 2017, backdrop, wood, metal rod, paint, fixings, rope, wooden moulding, glue, dimensions variable (sculptural installation), Photography by Steph Fuller, this activity is proudly supported by Adelaide Central School of Art Graduate Support Program.
Crimson Joy
Christina Peek, Crimson Joy, 2016, queen-sized bed, Crimson Joy lipstick, wax, bed linen, 76 x 150 x 203 cm, photograph James Field, courtesy of Adelaide Central School of Art.
Someone Like You
Christina Peek, Someone Like You, 2016, Bespoke perfume created to imitate a past lovers scent, 9cm x 3 cm x 3cm, photograph James Field, courtesy of Adelaide Central School of Art.
Killing Time
Christina Peek, Killing Time, 2016, Crimson Joy and Kiss, Kiss, Bang, Bang lipstick kisses on paper, 150cm x 200cm, photograph James Field, courtesy of Adelaide Central School of Art.
Crimson Joy (installation detail)
Christina Peek, Crimson Joy (installation detail), 2016, queen-sized bed, Crimson Joy lipstick, wax, bed linen, 76 x 150 x 203 cm, photograph James Field, courtesy of Adelaide Central School of Art.
Christina Peek, Keep your old love letters, throw away your old bank statements, 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (detail), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (detail), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (detail), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (audience interaction on opening night), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (audience interaction on opening night), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (detail), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (detail), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, Keep your old love letters, throw away your old bank statements (detail), 400 hand written love letters, envelopes, red ribbon, dimensions variable.
Christina Peek, The Love Jumpers, 2015, artist's own jumper, wool, cotton thread, dimentions variable, photograph James Field, courtesy of Adelaide Central School of Art
Christina Peek, I love the idea of you, 2015, cotton, cotton thread, Australian oak, 180 x 51cm, photograph James Field, courtesy of Adelaide Central School of Art
Christina Peek, I love the idea of you (detail), 2015, cotton, cotton thread, Australian oak, 180 x 51cm, photograph James Field, courtesy of Adelaide Central School of Art
Christina Peek, I love the idea of you (detail), 2015, cotton, cotton thread, Australian oak, 180 x 51cm, photograph James Field, courtesy of Adelaide Central School of Art
Christina Peek, The Kiss List (detail), 2015, lipstick, cotton thread, linen, dimentions variable, photograph James Field, courtesy of Adelaide Central School of Art
Christina Peek, The Kiss List (detail), 2015, lipstick, cotton thread, linen, dimentions variable, photograph James Field, courtesy of Adelaide Central School of Art
Propositions 2015 installation, photograph James Field, courtesy of Adelaide Central School of Art
Propositions 2015 installation, photograph James Field, courtesy of Adelaide Central School of Art
Propositions 2015 installation, photograph James Field, courtesy of Adelaide Central School of Art
On being an Artist: Action 7
In On Being an Artist Peek responds to the prompt, ‘Do the most obvious thing and then repeat the mistake’. She examines messages she has sent or received across various dating apps, reflecting on the language used to woo potential partners. These messages printed on condoms, colloquially called rubbers, alluding to perceived dating mistakes such as sleeping with someone too soon or misreading lust for love.
The quotes on these condoms are transactional, awkward and mundane. Although grounded in Peek’s own experience she hopes audiences can identify anecdotes from their own dating life in these fragments of text. These messages are a stark contrast to the tropes of love letters or romantic declarations, ubiquitous in the romance genre. Some of these condoms explicitly reference the romance genre such as ‘You had me at Zooper Dooper’, a play on a quote from Jerry Maguire. They demonstrate how - consciously or subconsciously - we reference romance narratives in our own dating lives. Perhaps that is the bigger mistake: assuming that romance looks like it does in the movies.
From Adelaide With Love
Allen + Julie
1000 years
7.7.17
Christina Peek is a South Australian artist whose practice explores how we manifest our ideas of romance through sincere yet futile gestures. The Adelaide University footbridge has in recent years become a place '...for kissing'.[1]Lovers fasten inscribed padlocks onto the sides of the bridge to signify their devotion to one another and throw the key into the river below.
As this phenomenon grew in popularity the local council began to fear for the structural integrity of the bridge. Concerned it would not be able to support the extra weight of the locks, they began to discourage lovers, threatening to cut them off.
As I took rubbings of the locks, preserving ghosts of the engravings, I wondered if this was enough to keep the couples together if the lock was later removed. Similarly, through the process of rubbing, I recorded names and dates, which had been covered over with permanent marker, hacked at or disfigured at the hands of bolt cutters. I recorded countless anniversaries, marriages and pledges of love. All of these disjointed narratives say, for better or for worse, we were here and I loved you.
[1]Father explains to his daughter the significance of the Adelaide University footbridge and why there are locks fastened to the bridge. Overheard while on the bridge rubbing locks for this project.
Leeward Bride
'Leeward Bride' is a collaborative effort, examining the meeting point of the practices of Edwina Cooper and Christina Peek. The rationale for this exhibition was inspired by the Venetian tradition of marrying the sea. Established in around 1000AD, the Pope would wed the sea each year on Ascension Day by dropping a golden ring from his finger into the ocean.
The two artists have examined this concept from the stand point of their respective practices; Edwina Cooper exploring the relationships and interactions of human and oceanic space, Christina Peek exploring the idea of romance as a fraught cultural narrative. The nature of this collaboration dictates that both have had a hand in making each work.
By working through each piece the pair have attempted to extrapolate on this centuries old ritual reimaging and reconsidering it in contemporary terms. When the significance of both the sea and marriage has shifted in lineage, what unions might today’s society gather from the sea and our potential marriage with it? Where do our expectations and superstitions around both pledges (of marriage) and cohabitation (with the sea) slip?
Since the invention of the kiss...
As romance continues to be a driving cultural narrative in contemporary life, I am constantly interested in the ways we manifest our tentative ideas of romantic love through sincere yet futile actions.
In many ways, I feel we form these initial ideas from the romantic media we consume. Although some of us may never have picked up a Mills and Boon novel or watched Titanic, we understand the formats of these romantic plots.
By removing the figures from iconic cinematic kiss scenes, I aim to create a space in which the audience may consider the sort of romantic relationships these films depict, and offer an opportunity to reimagine these narratives. The makeshift sets endeavor to highlight that real romance is, perhaps, found in the every day; perhaps romance doesn’t require the perfect setting and a pottery wheel.
As delightful as they are potentially damaging, romantic stories often enforce the idea that romantic relationships are an imperative part of human existence. One sometimes has to pinch themselves to remember there are other fulfilling life narratives. These installations aim to highlight this. As each set calls out to be activated the viewer is reminded that romance is not designed for one person, but for two.
Honours 2016
My practice derives from my feelings of hope and futility in a search for romance. I often feel torn between desiring romantic love and feeling pathetic for admitting it. Using materials that evoke romance such as lipstick and perfume, I create sculptures and installations that revel in the grand gestures depicted by popular culture yet maintain sincerity in their hope for romance.
In this way my works become talismans, summoning romance to me, and sites to explore my hopes and fears surrounding romantic love. They ask you to question your opinions of romance, if you too feel pathetic for wanting a partner or excluded from life’s narrative. But the most important question they pose is… are you the one?
FELTspace TREEspace 2016
In a vastly digitalized world love letters are becoming rare objects. A heart emoticon stands in place for I love you. By filling the tree with roughly 400 love letters for strangers to take and read, Christina Peek aims to remind us of a letter we may have received and maybe even persuade us to write one ourselves.
Christina Peek is currently completing a Bachelor of Visual Art (Honours) at the Adelaide Central School of Art.
Bachelor of Visual Art 2015
My work is about love, particularly the romantic kind. I have always been a romantic, adoring tragic love stories such as Wuthering Heights and The Great Gatsby. However, as time passed I came to realise that the romantic narratives I had grown up with represented an unrealistic view of modern day relationships. My interest in first loves stems from the realisation of this and the way I which we might manifest our tentative ideas of romance in sincere yet futile actions. These might include: practice kissing on a pillow, extensively listing attributes of the perfect partner or fabricating a jumper for a non-existent boyfriend. By materialising these actions through the time consuming and intimate processes of embroidery and crochet, I aim to highlight both the silliness and the contrasting sincerity of these gestures.