Liz Hazledon
Liz.hazledon@protonmail.com
No Instagram Sorry
Queer Sydney Artist
Education
Sydney College of the Arts, University of Sydney, Sydney, NSW
University of New South Wales, Colledge of Fine Arts, Sydney, NSW
Exhibitions
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Clown. 2026
Digital Drawing in response to news of Andriana Carey’s birthday show. A fun and silly drawing similar to doodles of mine that Andy has shown fondness for.
Happy Birthday, love you to bits.
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Save Slot. 2025
An experimental video game exploring memory, identity, and self-reflection through digital play. Using game-making as my medium, I revisit fragments of childhood, the experience of growing up with mismatched support, and feelings of disconnection. Through this process, I aim to bridge my retrospective and transcendental practice with my lived experience-transforming introspection into shared dialogue. The work exists between my younger and adult selves, a reflective space where memory and time converge. Each player becomes an embodied performer, contributing to a collective consciousness that holds and reshapes my personal reflections through interaction.
Fish. 2025
During Save Slot Installation i took note of my childhood home with elements such as the CRT and the memory of a fish painting that lived in my childhood living room.This inspired my own iteration of that painting by memory.
A homage to an unidentified artist/artwork.
...Originally created by crayons and oil paints.
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Aware. 2024
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Untitled. 2023. Watercolour and Ink. 1016 x 648mm
This work expands on previous explorations of water colour on a large scale, focusing on masking, symbolism, and distorted perspective to communicate emotional discomfort within social situations such as birthdays.
Distorted Ballon-like faces watching and judging.
A cycling of possible expression masks in an attempt to present a “correct” version of oneself.
And the attention all on you
Looming and all consuming, unable to escape perception. Exploring the pressure of social performance and the discomfort of not knowing what expression is expected in such settings. Through a personal lens, I have reflected on my own experiences within the performance of emotions and behaviours to meet social demand despite internal conflict.
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Expanded Series: Beds and Bedrooms. 2023
The concept of beds and bedrooms in my art practice began as a form of self-reflection and a window into my mental state, whether conscious or unconscious. Over time, this has expanded to include performative elements, shifting the work from a glimpse on paper to a glimpse in behaviour. As the series has developed, I have come to understand the bedroom not only as a reflection of mental state, but as a nest-like space of return and inner peace. It is a place to rest, wind down, reflect, and ruminate on the past, present, and future. Having lived in over twelve houses, the bedroom has become a kind of sanctuary — a private world where I can exist on my own terms. This work also acknowledges my younger self, around eight or nine years old, who would have always preferred to stay in bed rather than go to school.
> Mind Space 2023
> Collect a Bedroom: Private versus Public Movements. 2022
A series of watercolour postcards depicting friends’ and collaborators’ bedrooms, made public with the intention that they are taken, collected, and kept by others — reversing the movement of private to public and back into private ownership. Each postcard includes a quote or piece of advice from its participant, offering personal reflections intended to be carried into the viewer’s own context, particularly within experiences of mental health struggle and “bed rotting,” framing the work as both intimate exchange and shared emotional space....
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