Edwina Combe is a recent Creative Arts graduate of La Trobe University Bendigo where she majored in Fine Arts with focus in analogue photography. Her thesis focused on how empathic allowance in artworks can be used to communicate unspoken language. Taking influence from French theorist and feminist writer Hélène Cixous, she explored how there are gaps in spoken language which disadvantage communication outside of patriarchal favour. Her artwork Torpor Auras (2019), aimed to establish a way to visually convey the liminal spaces between language and allow an empathic and intimate connection. It utilised experimental analogue photography techniques such as double exposure and homemade lens constructions to reference auras, which are a symptom of chronic migraines that overlay and disruption vison and world perception. The photographs were then faded together slowly and back-projected onto a large sheet of satin that loomed over the ceiling to create an enclosed and intimate space. The small area was then littered with blankets and cushions to encourage a mindful place to reflect, as well as construct a gentle grounding space for the artist during overwhelming moments of illness. Torpor Auras (2019) was shown in the Phyllis Palmer Gallery as part of La Trobe’s graduate exhibition.
Other notable work includes Brink (2018) which was part of The Enlighten Festival of Projection and the Enlighten Precinct in White Night Bendigo. The artwork used analogue imagery taken over a two-year period and were a way of mindfully reflecting during the liminal horizons of new beginnings and ambiguity of life transitions. It also heavily invested in the tactile experience of film photography, and thus referred to darkroom traditions in it’s display by projecting onto several strung-up panels to mirror freshly developed prints.