Megan Keating's paintings, papercuts and installations turn the visceral terrors of warfare into a ritual-ised scheme of conformity and repetition, just as modern media and political propaganda so often do.
There is something shocking about the presentation of this highly emotive subject in such a calculated manner, reflecting, as it does, the indiffe-rence of those who play wargames.
At the same time, however, her meticulous technique suggests tenderness and solicitude.
Megan Keating studied paper-cutting traditions during recent residencies in Beijing and Tokyo. She has a PhD in painting from the University of Tasmania, where she currently teaches, and has established a national reputation.
She recently won the 2004 Hutchins Prize in Tasmania for work on paper.