Fantasy Required, 2021, collage, 110 x 80 cm
What was lost was never there, 2021, collage, 110 x 80 cm
Utopian Function (Make my skin feel weak), 2021, collage, 70 x 80 cm
Saturation, Crawford Art Gallery, 2022.
Installation View: Jed Niezgoda. Courtesy of Crawford Art Gallery.
Paradise Transmission, 2019, pop-up frame with six PVC image panels, 3.25 m x 2.5 m x .5. 
Saturation, Crawford Art Gallery, 2022. Installation View: Jed Niezgoda. Courtesy of Crawford Art Gallery.
Image works in Saturation, Crawford Art Gallery, 2022. 
Installation View: Jed Niezgoda. Courtesy of Crawford Art Gallery.
Fantasy Required, 2021, collage, 110 x 80 cm. Saturation, Crawford Art Gallery, 2022.
Installation View: Jed Niezgoda. Courtesy of Crawford Art Gallery.
What was lost was never there, 2021, collage, 110 x 80 cm. Saturation, Crawford Art Gallery, 2022.
Installation View: Jed Niezgoda. Courtesy of Crawford Art Gallery.
Utopian Function (Make my skin feel weak), 2021, collage, 70 x 80 cm. Saturation, Crawford Art Gallery, 2022.
Installation View: Jed Niezgoda. Courtesy of Crawford Art Gallery.
Paradise Transmission, 2019, pop-up frame with six PVC image panels, 3.25 m x 2.5 m x .5 m.
‍Far From Here, The Complex, 2019. Installation View: Davey Moor. Courtesy of The Complex.
‍Paradise Transmission, 2019, pop-up frame with six PVC image panels, 3.25 m x 2.5 m x .5 m (detail).
‍Far From Here, The Complex, 2019.
‍Paradise Transmission, 2019, pop-up frame with six PVC image panels, 3.25 m x 2.5 m x .5 m (detail).
‍Far From Here, The Complex, 2019.

The Stagings series explores how images are constructed and how then can be reorientated. Image surfaces are ripples of forces and feelings that shape contemporary experience. Through collage, Spillane takes apart and reassembles images to consider how they function as desire-loaded affective structures. This approach examines image relationships with plays of fragment, sign, and surface. With different tactics of disassembly and reconstruction, these works are a searching for something new through the potentials that mass-produced images hold. This is an on-going series from 2019.