This is an archived website. See for current information about Mailbox.


somewhere in the middle of nowhere, 2007, detail, tracing paper, double sided tape, mobile phone, dimensions variable

somewhere in the middle of nowhere


28 August – 26 October

A lost object
A misplaced intention
An ill-considered action
A discarded emotion
An undisclosed thought…

With the onset of the winter rains, the disused mail boxes of 141 become overgrown with grass, a spectacle that has been lost during the summer months and is becoming a rare occurrence within the context of our drought-torn Australian landscape. We see life within this tiny space and presume hope…but the grass reveals a lost object that tells a very different story.
My grassy sites become places that indicate a time and a space where ‘something has gone wrong’. They reveal insights into the action that took place that may or may not be able to help in the reconstruction of the scene, the rescue of the victim or the prosecution of the offender. They offer the viewer an empty situation allowing them to bring their experience to the work and devise a solution.
In ‘somewhere in the middle of nowhere’, something has been lost in the grass. Was it misplaced by accident or deliberately discarded? Is the site simply witness to carelessness or to a more sinister act. An article from the everyday, a piece of popular culture and ubiquitous personal item, is found without its owner. It reminds us that someone was here. Can it help us to piece together what took place, find out what went wrong or do we simply accept that it’s too late…
Natasha Frisch 2007

Natasha Frisch’s practice commonly involves the use of modest materials such as tracing paper, double-sided tape, glue, fishing line and light to construct installations which emulate sites, objects and conversations from the local, the everyday and memory. Often purpose-built and dependent on the particular architecture of the gallery in which the work is being exhibited, the fragile and impermanent nature of the materials used ensures that the work cannot be easily transported or translated for future exhibition. The works are simply de-installed and re-cycled. Inspired by tales of suburban myth and the seedier aspects of Australian domesticity Frisch’s constructions act as a document of the places where human behaviour has altered the space for better or worse – empty situations which via stillness and spatial displacement allow for a slippage between the real and the unreal.