Press & Texts

"Dwyer’s work definitely falls into the category of  ‘difficult’ contemporary art and yet it is likely to bring a smile to the face of any viewer, regardless of their levels of art literacy.  Strange and often clumsy-looking, these are communicative, empathetic and sophisticated works – and discussion of them is illuminated by remembering her eccentric dream(...)", "The coalescing art of Mikala Dwyer", Anne Loxley, 2008

"(...)Dwyer's work has a grungy, D.I.Y feel. There is nothing polished about the pieces, or attempts to conceal the process. It speaks of construction and assembly, giving the work a sense of time and evolution from one to the other. The kitsch appearance betrays a dark hole of philosophic potential. (...) Some things cannot be explained by science and rationale, the universe is too big, too infinite and we have to give some of our sense over to mysticism." Sophia Mitchell, 2008

Victoria Barker, "Seeing a world through the eyes of a child on a mountaintop", black sun blue moon exh. cat. 2005

"Mikala Dwyer's installations are like playgrounds; at least playgrounds for an alien species, or for some fantastic mutation of the human race. They're fun, and funny, if in an unnatural and unearthly way (...)" Edward Colless, 'Mikala Dwyer', Face Up exh. cat. 2004, p.72

"I look for a sense of consciousness in materials, objects and spaces; things that can talk back and are able to trick me into a dislocation of my body schema, a kind of out-of-body experience (...)", Catherine Nichols, 'Mikala Dwyer', Face Up exh. cat. 2004, p.71

"(...) Dwyer's simple abbreviation enters into a humble exchange with the audience, suggesting the importance of bringing private associative imaginary realms into public institutional space (...)" Page from Wayne Tunnicliffe, 'Still Life', Still Life, the Inaugural Balnaves Foundation Sculpture Project, 2003

"I have often thought there was something slightly shamanic about Mikala Dwyer’s work – the way she invests an almost animistic intensity into the object. In fact, I hesitate to call them installations, because each work is so self-contained, integrated, and flirtatiously  (cheekily so) formalist, that I find myself obliged to call her a sculptor(...)"  Littered Under Mercury by Andrew Paul Wood

"It's hart not to enjoy Mikala Dwyer's work. No matter how challenging it may be for an audience to consider an enveloping and anarchic jumble of coloured pantylose stretched to breaking point, of plastic guttering and sagging geometric volumes modelled in neoprene, of cubbyhouses and wardrobe spaces casually suggested by draped vinyl or linoleum or recycled cardboard, or of bandaged floating radios and crazy constellations of roughly handled squiggles of modelling clay leaping around like kyperactive viruses or spermatozoa... (...)" Edward Colless, 'Undone', MCA exh. cat. 2001

"Mikala Dwyer’s art is about an encounter between ourselves and others. It does not resolve difference into wholeness, but keys
into our intuition that self-identity is an illusion (...)
", MICHAEL Linda, "The little Temples of Love for the Dead Things", in "Mikala Dwyer", Sydney; Museum of Contemporary Art, 2000.

"Mikala Dwyer", Tony Ross, 1999