Waking up, I realise my dreams are trying to find ways, through metaphor, to communicate dissonant parts of my ego. Dreams have the ability to help us process emotions, by encoding and constructing memories of our every day and expectations within it.

In Help Yourself, my making process is driven by the urge to visually represent and make sense of the abstract intentions lurking in my dream state.

That happens in daily life, 
To learn a lesson, it becomes engrained in you 
Do you get it, do you get it yet?

I revisited old paintings to create a non-linear narrative, one that jumps back and forth. Individually, these objects and paintings tell several fragmented stories. Together, they create a material backdrop for contradictory feelings of authenticity, shame, exhaustion, and idealisation.

The task of decoding the metaphors littering my dreams, allows for a self-reflective space for me to reconcile my relationship to care. 

My third-culture kid syndrome can’t work out if I make myself obliged to be supportive and to show that my connection to my heritage is authentic. Or if my diasporic upbringing renders my ancestry as a novelty. Is the act of proving myself counter-intuitive to the project of decoloniality? Or is learning to live with a problem a form of care?

Aida Azin is a multidisciplinary artist living on Wurundjeri land. She uses her painting practice as a platform to promote the importance of self-representation on cultural perspectives within the visual arts. The themes presented in Aida’s art practice often reflect her experience as a Filipino-Iranian first-generation born woman in so-called ‘Australia’.

In 2019 Aida exhibited solo shows; Lonely God at Seventh Gallery, Melbourne and Brown Pillars at Firstdraft, Sydney. She joined the youth-focused project Living and Breathing (‘the LAB’) and initiated the Filipinx/@ arts project Saluhan collective. In September 2020, Aida will be exhibiting new work in ACE Open’s 2020 South Australian Artist Survey.