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Student Showcase Archive

Marita Fraser

PhD Work

PhD work

  • Untitled Score

    Untitled Score, Marita Fraser

  • Untitled (For Irigaray)

    Untitled (For Irigaray), Marita Fraser 2017
    Calico, Dye, Metal

  • (after) parts of a body house, reading

    (after) parts of a body house, reading, Marita Fraser 2019

  • (after) parts of a body house

    (after) parts of a body house, Marita Fraser 2019
    video, 6min

  • (after) parts of a body house

    (after) parts of a body house, Marita Fraser 2019

  • (after) parts of a body house

    (after) parts of a body house, Marita Fraser 2019
    video, 6min

  • (after) parts of a body house

    (after) parts of a body house, Marita Fraser 2019
    video, 6min

  • (after) parts of a body house

    (after) parts of a body house, Marita Fraser 2019

  • (after) parts of a body house

    (after) parts of a body house, Marita Fraser 2019

  • Reading SafeHouse //Daybreak

    Reading SafeHouse //Daybreak, Marita Fraser

  • Untitle (score)

    Untitle (score), Marita Fraser
    Installation view

Speaking With: New Forms of Notation for Scoring Excess

Keywords: Feminism, Refusal, Performance, Score, Excess

Events: Speaking With, organised by Marita Fraser and Caroline Douglas, June 12, 2019, Royal College of Art.


The score, as instructional text based works, has been utilised in art practice from the late 1950’s to the present. This research project is a feminist analysis of the use of scores in art making, through the lens of three key terms: speaking with, refusal and voicing excess.

My research develops speaking with as a feminist method of practice in working with material, bodies and archive; bringing readers, writers, makers and the materials of practice close. Speaking with holds in mind an awareness of proximity, resisting the urge to colonalise that which we come close to. Frottage, Fandom, ‘I love to you’ (Irigaray) are examined through the lens of speaking with. This methodology enables my research to examine where and how to we situate the work of others and our subjective selves within our practice, and how the score as form enables this speaking.

Refusal is a processual force in art practice and writing that creates spaces of cultural production from which feminist, maternal, non-normative and non-patriarchal voices can be heard. This project foregrounds Italian feminist Carlo Lonzi’s construction of herself as ‘nothing’, as a cultural body acting through and within refusal, as a starting point to ask how does ‘nothing’ speak. The research considers  refusal as a method  to consider the urgency of the arts today and why the score is a necessary form in enacting refusal. I examine how and what feminist refusal enables us to speak with.

The score was embraced by feminist art practitioners through the 1960's and onward as an important method of making work which enabled a space 'off the page', between text and its reading/performance via endless mutable repetitions, to be activated. It is this 'off the page' space generated through the making and performance of scores which holds and speaks of excess. Here I understand excess to be the subjective, the collaborative, the personal and the social; being poly-vocal and chorus like. The score as text work sits across genres of poetry, fiction, autofiction, instruction and script. As a slippery form of writing and performing, the score allows for collaboration in authorship, voices, and bodies. Within contemporary practice, the score continues to be a vital form in text, film, painting and performance practices. Through my own practice of writing, performing, film making and painting, and feminist analysis of others, this project offers speaking with as a new method for thinking about and working with score based practice.



  • marita fraser
  • PhD


    School of Arts & Humanities


    Arts & Humanities Research, 2016–

  • Marita Fraser is a visual artist and writer who's practice is materialised through painting, collage, installation, film, performance and text. 

    Recent exhibitions and performances include: (after) parts of a body house, Moore Contemporary Perth; Sister, Gallery Layendecker Santa cruz de Tenerife; Billy, Schneiderei Vienna; Marita Fraser - Love of Diagrams, Engen Stadt Museum; Marita Fraser, Kerstin Engholm Gallery Vienna; Something New, Josh Liley Gallery London; Afterimage, Kunsthalle Exnergasse, Vienna and Prima Interventionen, Atelierhaus Salzamt, Linz. 

    Fraser has produced a permanent sculpture in public space for the city of Tulln, Austria. and a large scale temporary public space work as part of Urban Signs - Local Strategies  Paterstern, Vienna. She has undertaken international residency programs with Casa Wabi Mexico,  MQ21 Vienna, Atelierhaus Salzamt Linz, Artspace Sydney and Cite International des Arts Paris. She was a founding director of the Viennese 'off space', Bell Street Project Space from 2006–2010. 2017–2019 she has been a  tutor at Royal College of Art, Liverpool Hope University, UCA Farnham and Bath Spa University. Fraser is a member of the RCA School of Art and Humanities open Research Network Speaking of Her. In 2019 she co-organised and presented her research at Speaking With and AUTO//FICTION events held at the RCA.

  • Degrees

  • Academy of Fine Art Vienna, Class Heimo Zobernig; BA Fine Art 1st Class Honours, Sydney College of the Arts, University of Sydney.; BSc. (Arch), University of Sydney.
  • Experience

  • Visiting Lecturer, UCA, Farnham, 2019; Visiting Tutor, Final Project Crits, Media Studies, MA, Royal College of Art, 2019; Visiting Tutor, Bath Spa University, 2018 - 2019; Visiting Tutor for SoAH MA crits, Royal College of Art, 2018; Visiting Tutor, Liverpool Hope University, 2018; Lecturer, MA Translation/Publishing, UCL, 2018; Tutor, Across School Group, MA, SoAH, Royal College of Art, 2017; Resident, Casa Wabi Foundation, Oaxaca, Mexico, 2017; Lecturer, LAHP Research Programme, 2016 – 2017; Resident. Q21, Museums Quartier, Vienna, Austria, 2016; Guest Lecturer, Talking Thesis (Phd Programme), Slade School of Fine Art, UCL, 2013; Lecturer, MA Publishing, UCL, 2013 – 2015; Production Manager, Norvik Press, UCL, 2012 – 2018; Resident, Atelierhaus Salzamt, Linz, 2011; Founding Director, Bell Street Project Space, Vienna, 2007 – 2010; Resident, Artspace, Sydney, 2010; Student Class Tutor, Academy of Fine Art Vienna, Class Zobernig, 2009; Guest Lecturer, Subvision, Hamburg, 2009; Guest Lecturer, Manchester Metropolitan University, 2009; Resident, Cité International des Arts, Paris, 2008; Resident, Artist in Residence, Sydney College of the Arts, 2007
  • Exhibitions

  • Solo: (after) parts of a body house, Moore Contemporary, Perth, 2019; Billy, Schneiderei Kunstvereinne, Vienna, 2017; The Cup, RIAT, Vienna, 2016; Marita Fraser, Kerstin Engholm Gallery Vienna, 2015; Marita Fraser, Gallery 9, Sydney, 2014; Marita Fraser,, 2014; Marita Fraser and Freya Douglas Morris, Peter Von Kant, 2014; Birds of Paradise, James Dorahy, Sydney, 2013; Marita Fraser, Kerstin Engholm Gallery, Vienna, 2012; Marita Fraser, Love of Diagrams, Engen Stadt Museum, Engen, 2010; Marita Fraser, Gallery Karol Winiarzyk, Vienna, 2010; In passing 9, Kunstlerhaus, Vienna, 2010; Group: Dreamin' Wild, Alaska Projects, Sydney, 2018; Flight Mode, Assembly Point, London, 2018; Sister, Layendecker Gallery, Tenereife, 2017; 001, Moore Contemporary, Perth, 2017; Wild Flowers, Narrative Projects, London, 2017; Sunday Sessions, PS, Amsterdam, 2017; Beyond Boarders, Blain Southern, London, 2016; Was die Wange röthet, kann nicht übel seyn, Kerstin Engholm Gallery, Vienna, 2015; Balls, Nest, The Hauge, The Netherlands, 2015; The Trouble with Painting, The Pumphouse, London, 2013; Austrian Sculpture Project, Vienna, 2013; Afterimage, Kunsthalle Exnergasse, Vienna, 2012; Something New, Josh Lily Gallery, London 2012; Object as Image, Vesch, Vienna, 2011; Prima Interventionen, Atelierhaus Salzamt, Linz, 2011; Silver Moon, • (Lisa Ruyter Gallery), Vienna, 2011; Caution Colour!, Museum Ritter, Waldenbuch, 2011; Love of Diagrams, PICA, Perth, 2010; Pattern Recognition, PS, Amsterdam, 2010; Women, Kerstin Engholm Gallery, Vienna, 2010; Early Dawning, Kerstin Engholm Gallery Vienna, 2009; Urban Signs - Local Strategies, Praterstern, Vienna, 2009
  • Awards

  • TECHNE Doctoral Award, AHRC, 2018–2020; Fundación Casa Wabi ArtReview Residency Award, 2017; New Works Grant, Australia Council for the Arts, 2015; Artist Grant Austrian Ministry of Culture, 2014; New Works Grant, Australia Council for the Arts, 2011; ArtStart, Australia Council for the Arts, 2009; The NSW Arts Gallery, Moya Dyring Studio Award, Cité International des Arts, 2007; Zelda Stedman Award, University of Sydney, 2005; Fauvette Loureiro Award, University of Sydney, 2003
  • Conferences

  • Organiser and Presenter, AUTO//FICTION, Royal College of Art, July 9 2019; Organisor and Presenter, Speaking With, Royal College of Art, June 12, 2019; Panellist, SoAH 'Re-Enactment' Research Group Presents Ali Smith, Royal College of Art, May 7 2019; Steering Committee and Presenter, The Urgency of the Arts, NAFAE conference, Royal College of Art, 15 March 2019; Presenter, Say Something Back, Merton College Oxford, 28 February, 2019
  • Publications

  • Dream'n Wild, Alaska Projects, Sydney/Vienna, 2019; 'Billy', Prova 4, SOAH, RCA, 2018; Billy, 2017 (artist's book); Looking at Painting, Volume 2, 2016; Sculptors/Sculpting, ORF III Television, Austria, broadcast Oct. 2016; Fluc: Tanz die Utopie!, M. Wagner (ed.), Falter, Vienna, 2014; Afterimage, Kunsthalle Exnergasse, Vienna, 2012; Love of Diagrams, Marita Fraser, Stadt Museum, Engen, Bucher Verlag, 2010 (Monograph); Love of Diagrams, PICA, Perth, 2010; Urban Signs, Local Stratergies, F. Thalmair, Kunstforum, 200, 2010