Posts Tagged ‘Rosalie Gascoigne


Review: ‘Luminous World: Contemporary Art from the Wesfarmers Collection’ at The Ian Potter Museum of Art, Melbourne 

Exhibition dates: 31st March – 5th July 2015

Curator: Helen Carroll



Gorgeous catalogue with luscious plates, insightful text by Bill Henson (below) and evocative poetry by John Kinsella. Stars on the front cover and silver edged pages. No expense spared in production, with money literally thrown at the project, or so it would seem.

The curator, Helen Carroll, talks about ‘wonder’: “It is a capacity for wonder that makes us human”. Henson talking about ‘wonder’ and ‘love’ – about moments that change your life when looking at and breathing in great art. Then why does this exhibition feel so… well, needless? Despite some fascinating individual works of art, collectively there is little wonder on show here.

Perhaps it is because this exhibition looks to be a cut down version of the one first shown at the Art Gallery of Western Australia in 2012, with many works missing from what are listed in the catalogue. Or perhaps it is the hang which at the Ian Potter Museum of Art consists of two rooms on the ground floor of the museum, one housing lighter works, the other dark works. Too dichotomous for my tastes. Nothing is ever so cut and dried.

Perhaps it’s the fact that the concept of the exhibition – light in its many guises – seems to have been tagged onto a groups of art works which are anything but about light. Or are about light in a roundabout, merry-go-round kind of way. The wall text states, “Rather than a chronological or stylistically ordered presentation, the exhibition follows a loosely intuitive flow of ideas and imagery, moving through night to day. The artists in this exhibition explore light from the perspective of the optical experience, the connection between the starts and the cycles of life on earth; and from diverse cultural, mythic and spiritual points of departure.” Apparently the works are more about the phenomena of light than about light itself.

While the art works are interesting in their own right they don’t really work together cohesively as a group to investigate the theme of the exhibition. Trying to burden a collection of art bought for investment purposes with a concept not “natural” to the work, or just a curator’s idea of what seems implicit in the work but is just a cerebral construction, simply does not work in this case. As I looked around the exhibition, I felt the works were more about the physicality of time and space (of history and place), about links in the existential chain, than they were about light. For me, this evinced Mikhail Bakhtin’s notion of the ‘chronotype’ – meaning ‘the connectedness of temporal and spatial relationships that are artistically expressed’ (in literature). Perhaps the intuitive flow of ideas and imagery and the multiple points of departure work against the very idea the exhibition seeks to investigate. This is so broadly thematic (the effects of light on the world) that it needed to be more focused in its conceptualisation.

It’s also a real worry when text panels in the exhibition quote Richard Goyder, Managing Director, Wesfarmers Limited, as saying that this is the first time that Wesfarmers has showcased the contemporary art of the collection, “and the works selected for Luminous World illustrate some of the ways in which the collection has grown in recent years. For instance, the inclusion of art from New Zealand, where Wesfarmers has a significant business presence, and the heightened emphasis on representing the great diversity of contemporary Indigenous art.”

The inclusion of New Zealand art because Wesfarmers has a significant business presence – not the quality or wonder of the art work – but a business presence. And only now are they collecting contemporary Indigenous art, after the collection has been in existence for more than three decades, 1977 being the first acquisition date. At least he is being refreshingly honest about why the art work has been added to the collection, but it does not give you confidence in the choice of the art work being displayed here. Goyder, Carroll and Kinsella also proselytize about the benefits of employee’s living with this art in their daily working lives and that may be the case. But for the casual visitor to the gallery this collection of art left me feeling cold and clammy – like a fish out of water.

As the add for Reflex copy paper says with more humour than any of this work can muster, I didn’t find “enwhitenment”, or wonder, within the gallery walls. Oh, the luminosity of it all.


Many thankx to The Ian Potter Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.



What is the Night?

‘What is the night?’ Macbeth enquires in the banquet scene, once the ghost of Banquo has departed and his wide has dismissed their mystified guests. Deprived of sleep, and half-psychotic, he urgently needs to know the time. But this is also, implicitly, a philosophical question that hints at the ontological meaning of the night…

Macbeth, Shakespeare’s most elaborate meditation on the night, is a sustained, if not obsessive, exploration of the nocturnal as a realm of alternative values – ones that contradict and threaten to undermine those of the diurnal regime that is ostensibly the domain of politics in the early modern period. In this violent, vengeful tragedy, the language and culture of the medieval night, incarnated above all in the witches, irrupts into the more enlightened languages and culture of a purportedly post-medieval epoch. An apocalyptic night, in Macbeth’s barbaric court, is one of the forces that shape realpolitik. In the Renaissance, a period in which daily life encroaches more and more on the night, especially in public settings, in the form of elaborately lit masques at court, Macbeth thus stages the limits of enlightenment.

At a time when more systematic, socially centralized modes of illumination are increasingly disrupting older patterns of rest, including biphasic sleep – so that, for the early modern ruling class at least, night starts to feel like an extension of the day, its observe rather than its inverse – Shakespeare dramatizes the tyrannical attraction, the absolutism, of darkness. Macbeth describes a process of nocturnalization whereby the night irresistibly colonizes the day, fatally infiltrating both the state and the protagonist’s consciousness. To use a word that has some currency in the seventeenth century, but has long since fallen out of use, Shakespeare’s drama is a study of ‘benightment’.”

Matthew Beaumont. “What is the Night?” in Matthew Beaumont. Nightwalking: A Nocturnal History of London, Chaucer to Dickens. London and New York: Verso, 2015, pp. 86-87.


Luminous World brings together a selection of contemporary paintings, objects and photographs from the Wesfarmers Collection in a conversation about light. Through works of scale and conceptual invention that chart the range and depth of the collection, this exhibition presents significant contemporary paintings, photographs and objects by leading Australian and New Zealand artists acquired by Wesfarmers over three decades and shared together for the first time with the Australian public.

The Potter is the fifth venue for this touring exhibition which to date has travelled to Charles Darwin University Art Gallery, Darwin; National Library of Australia, Canberra; Samstag Museum of Art, Adelaide; and The Academy Gallery, University of Tasmania.



Brook Andrew. 'Replicant series: Owl' 2005 


Brook Andrew
Replicant series: Owl
Ilfochrome print
130 x 195 cm
© Brook Andrew, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art



Brook Andrew (1970- ) is a Sydney born/Melbourne based interdisciplinary artist of Wiradjuri and Scottish heritage. Andrew’s conceptual based practice incorporates, sculpture, photography, installation, video and performance. The Replicant 2006 series reflects (literally) upon the act of looking, and consequent interchanges between nature and culture, subject and object, real and represented. These dualities fit broadly within the artist’s addressing of Australian identity, polemics and the politics of difference.

For the Replicant 2006 series Andrew borrowed taxidermied specimens from the education department at the Australian Museum, Sydney. These included native species of indigenous significance such as an owl, possum, flying fox and parrot. He shot each animal – artificially propped in their natural poses – and digitally manipulated each image so as to appear duplicated, a process that evolved out of the Kalar midday 2004 series.


Bill Henson. 'Untitled' 2009-10 


Bill Henson
Archival inkjet pigment print
127 x 180 cm
© Bill Henson, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art



” … And yet certain things – particular experiences that we have are excpetional. They stand apart from the rest of the general activity.

What causes this apprehension of significance – of something in face powerfully apprehended yet not always fully understood?

And why is it that all of us, at some time or other, with have this ‘epiphany’ – Christian or otherwise – in the presence of some work of art, in the experiencing of a performance piece or some unexpected encounter with the true magic of a particular piece of sculpture?

When it happens, I always think of it as being as if one’s life – and everything that it contains – had just been ever so slightly changed, forever. Nothing, if you will, is ever quite the same again.

What happens, I think, is simply that we fall in love – and it’s the apprehension of unexpected beauty that causes us to fall in love.

The sheer force of such beauty can affect us as if it were an act of nature – and of course it is, for despite the arrogance of some theoreticians, culture is never outside nature.

I think that it is this intense, if often quite subtle, love for the subject, and the resultant emotional and intellectual interdependence within that relationship – be it in musical form, something in the visual arts, theatre of dance – that is responsible for – and in fact makes possible at all – these great and fortunate encounters in the arts.

Stare back into time and all kinds of very ‘personal’ things return your gaze. This has always, to me, seemed to a large extent to be what art is about. Sure, it’s personal, but it’s also millennial.

The best art always heightens our sense of mortality. This is not morbidity that I am talking about – rather, we feel more alive in the presence of great art and this is because of a profound sense of continuity – our sense of being inside nature – is expanded.

If you like, art suggests the immortal in all of us.

When we listen to Michelangeli – or, say, Jörg Demus playing Kinderszenen – and we sense that simultaneously proximate and intimate yet utterly abstract presence (was that someone? Schumann perhaps?) and at the same time sense the unbridgeable gulf that exists between ourselves and that distant past – we know that we are in the presence of something magical.

In the end I think that it is love that fuels this activity – that animates the speculative capacity in all of us – and heightens this sense of wonder.

Excerpts from Bill Henson’s speech “Reflections,” in Luminous World catalogue. Perth: Wesfarmers Limited, 2012, pp. 23-24.


Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne


Installation views of the exhibition Luminous World: Contemporary Art from the Wesfarmers Collection at The Ian Potter Museum of Art, The University of Melbourne


David Stephenson. 'Star Drawing 1996/402' 1996


David Stephenson
Star Drawing 1996/402
40 x 40″
Cibachrome Print
National Gallery of Victoria, Melbourne
Purchased, 1997
© Courtesy of the artist



While the subject of my photographs has shifted from the landscape of the American Southwest and Tasmania, and the minimal horizons of the Southern ocean, and the icy wastes of Antarctica, to sacred architecture and the sky at both day and night, my art has remained essentially spiritual – for more than two decades I have been exploring a contemporary expression of the sublime – a transcendental experience of awe with the vast space and time of existence. (David Stephenson, 1998)


Bill Henson. 'Untitled 39/139' 1990-91


Bill Henson
Untitled 39/139
Paris Opera Project
Type C photograph
127 × 127 cm
Series of 50
Edition of 10 + 2 A/Ps


Stieg Persson. 'Offret' 1998 


Stieg Persson
Oil on canvas
183 x 167 cm
© Stieg Persson, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art



“Works focusing on light and darkness, and how light creates and reveals our world, from one of Australia’s pre-eminent corporate art collections compiled by Wesfarmers over the past 30 years, will be exhibited at the Ian Potter Museum of Art at The University of Melbourne.

The exhibition, Luminous World: Contemporary art from the Wesfarmers Collection, presents a diverse selection of contemporary paintings, photography and works of sculpture. The works traverse a diversity of cultural, aesthetic and philosophical perspectives, with the curatorial premise of how contemporary artists explore the phenomenon of light in their work.

Some 50 artists from Australia and New Zealand are featured in the exhibition including: Susan Norrie, Rosemary Laing, Howard Taylor, Dale Frank, Paddy Bedford, Bill Henson, Fiona Pardington (NZ), Brian Blanchflower, Brook Andrew, Timothy Cook and Nyapanyapa Yunupingu. Included alongside the art is a major new body of poetry by John Kinsella, written in response to works in the exhibition. These are published for the first time under the imprint of Fremantle Press in the book Luminous World, with new writing by artist Bill Henson and composer Richard Mills.

Ian Potter Museum of Art Director, Ms Kelly Gellatly said, “Luminous World highlights the strengths ofthe Wesfarmers Collection, which has generously been shared, through the tour of the exhibition, with the wider community.

“In bringing together works across a range of media by Indigenous and non-Indigenous artists, Luminous World successfully showcases both the depth and continuing resonance of contemporary Australian practice in a rich, open-ended and exploratory conversation about light.

“To know and experience light and its effects however, one must equally understand its other – darkness. Together, these concerns create an exhibition experience that is at once intellectual, emotional and experiential,” Ms Gellatly said.

The Wesfarmers Collection was started in 1977, and is housed in the Wesfarmers offices around Australia and shared with the community through a loan and exhibition program. A Wesfarmers and Art Gallery of Western Australia touring exhibition.”

Press release from The Ian Potter Museum of Art website


Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne

Installation view of the exhibition 'Luminous World: Contemporary Art from the Wesfarmers Collection' at The Ian Potter Museum of Art, The University of Melbourne


Installation views of the exhibition Luminous World: Contemporary Art from the Wesfarmers Collection at The Ian Potter Museum of Art, The University of Melbourne



“For more than three decades Wesfarmers has been collecting Australian art. From General Manager John Bennison’s first acquisition in 1977 of a pastoral scene by the Australian impressionist Elioth Gruner, Wesfarmers’ purpose was to accentuate the value of art in the workplace and encourage and understanding of the importance to society of supporting creative thinking and artistic vision. The company has always been committed to sharing its collection with the community through exhibitions and loans and by opening our workplaces for groups to view the art in our offices.

This is the first time Wesfarmers has showcased the contemporary art in the collection, and the works selected for Luminous World illustrate some of the ways in which the collection has grown in recent years. For instance, the inclusion of art from New Zealand, where Wesfarmers now has a significant business presence, and the heightened emphasis on representing the great diversity of contemporary indigenous art.

We thank the artists whose resonant and timeless works form part of Australia’s rich cultural heritage and hope that the Australian public will enjoy these works and marvel at the ingenuity and artistic vision they represent, as Wesfarmers does, surround by inspirational art in our daily lives.”

Richard Goyder
Managing Director, Wesfarmers Limited


The visual world is defined by light; everything we see is processed by the eye as patterns of brightness and colour. Monumental formations in the landscape as well as the most subtle nuances of atmosphere are made real to us by the action of light, transmitted in wavelengths as an infinitely varied register of colour that combine within the eye to shape our sense of space and form.

It is the action of light reflecting off, refracting through and being absorbed by the substance of the world that enables the eye to perceive contours, hues, and textures and mark the passing of time from day to night and season to season.

Luminous World presents a diverse selection of contemporary paintings, photography and works of sculpture, acquired by the Wesfarmers Collection over thirty years and considered through the lens of how contemporary artists variously utilise the phenomenon of light in their work.

Rather than a chronological or stylistically ordered presentation, it follows a loosely intuitive flow of ideas and imagery moving through night to day. The artists in this exhibition explore light from the perspective of the optical experience, the connection between the stars and the cycles of life on earth; and from diverse cultural, mythic and spiritual point of departure.

Published for the first time in the Luminous World catalogue are recent poems by John Kinsella, written in response to selected works in the exhibition, together with new writing by artist Bill Henson and composer Richard Mills that extend an artistic dialogue in which all can share.


Rosalie Gascoigne. 'Hung fire' 1995


Rosalie Gascoigne
Hung fire
Retro-reflective road-sign on wood
209 x 176 cm
© Rosalie Gascoigne, licensed by Viscopy 2012 and Wesfarmers Collection of Australian Art


Elizabeth Nyumi. 'Parwalla' 2010 


Elizabeth Nyumi
Acrylic on canvas
120 x 180 cm
© Elizabeth Nyumi, licensed by Viscopy 2012 and Wesfarmers Collection of Australian Art



About Parwalla

This painting depicts the country known as Parwalla, which is Nyumi’s father’s country. This country is far to the south of Balgo in the Great Sandy Desert, west of Kiwirrkurra, and is dominated by tali (sand hills). Parwalla is a large swampy area, which fills with water after the wet season rain and consequently produces an abundance of bush foods. The majority of Nyumi’s painting shows the different bush foods, including kantjilyi (bush raisin), pura (bush tomato) and minyili (seed). The whiteish colours, which dominate the painting, represent the spinifex that grows strong and seeds after the wet season rains. These seeds are white in colour, and grow so thickly they obscure the ground and other plants below.


When Nyumi was only a very young child her mother died at Kanari soakwater close to Jupiter Well. As a young girl, Nyumi lived with her family group in their country. As a teenager she walked along the Canning Stock Route into the old mission with her father and family group. There she was given clothes and taken to Billiluna Station to be trained as a domestic worker and to work for the wives of the station managers around the region.

Nyumi commenced painting in 1987 and emerged as a leading artist in the late 1990s. She is married to the artist Palmer Gordon and has four daughters, three of whom are still living and beginning to paint with strong encouragement from Nyumi. Her elder brothers Brandy Tjungurrayi and Patrick Olodoodi are both senior lawmen and recognised artists. Nyumi is a very strong culture woman and dancer and an enthusiastic teacher of culture to children, ensuring the traditional dances and songs are kept alive.

Nyumi’s paintings are mainly concerned with the abundant bush food in the country belonging to her family. Initially, she worked with a thick brush, covering the canvas with fluent lines in tones of yellow, green and red. She has now developed a strong personal style of thick impasto dotting, to build up fields of texture heavily laden with white, in which motifs of camp sites, coolamons, digging sticks and bush tucker stand out.


Gretchen Albrecht. 'Pink and orange sherbet sky' 1975  


Gretchen Albrecht
Pink and orange sherbet sky
Acrylic on canvas
166 x 177 cm
© Gretchen Albrecht, reproduced courtesy of the artist and Wesfarmers Collection of Australia


Rosemary Laing. 'Brumby mound #5' from the series 'One dozen unnatural disasters in the landscape' 2003


Rosemary Laing
Brumby mound #5 from the series One dozen unnatural disasters in the landscape
C Type photograph
110 x 222 cm
© Rosemary Laing, reproduced courtesy of the artist and Wesfarmers Collection of Australian Art



Brumby mound #5 2003 is one of a series of photographs by Rosemary Laing that explores the way European culture has often been uncomfortably imposed on an ancient land. Laing chooses a desert-scape that many identify as quintessentially Australian as the setting for her interventions. The location is the Wirrimanu community lands around Balgo in north-east Western Australia. Onto these traditional lands Laing has incongruously placed items of mass-produced furniture painted to mimic the surroundings.

The words ‘brumby mound’ in her title are a reference to the introduced horses (or brumbies) that are feral and roam uncontrolled, much like the spread of furniture. The seductive beauty of these panoramic images shows the vast spectacle of the Australian bush and makes the disjunction of the natural and the unnatural all the more apparent. (Text from the NGV website)


Howard Taylor. 'Bushfire sun' 1996 


Howard Taylor
Bushfire sun
Oil on canvas
122 x 152 cm
© Howard Taylor, courtesy of the artist’s estate and Wesfarmers Collection of Australian Art


Michael Riley. 'Untitled' from the series 'Cloud [Feather]' 2000


Michael Riley
Untitled from the series Cloud [Feather]
Inkjet print on banner paper
86 x 120 cm
© Michael Riley Foundation, licensed by Viscopy 2012 and Wesfarmers Collection of Australian Art



“Feathers float – so do clouds – and dreams.

Feather – a Wiradjuri word for feather and wing are the same, Gawuurra. Probably Cowra, the name of a town to the south, comes from this. In contemporary Aboriginal practices of other groups, feather-appendage is extended in meaning to string tassel, sacred string marking a journey, connecting landscapes, people, family lineages, and, importantly, the embryo cord linking child and mother.

A wing of the eagle hawk, Malyan, a skin name, a scary dream-being overhead. Is it guardian angel or assassin? In the south-east, a feather left behind is often evidence of such a spiritual visit.

At the funeral of actor and activist Bob Maza in 2000, his son held his father’s Bible and recollected his words, ‘to dare to dream your dreams’. It’s interesting that Michael Riley chose to avoid the word ‘dream’ in naming his final photographic work cloud (2000), avoiding glib connections to ‘Dreamtime’. What rolls past our eyes and through our senses is the culmination of self-examination. In a series of poetic photographic texts made increasingly poignant through events in his personal life, these are dreams of childhood memories in Dubbo, New South Wales: dreams of floating, of release…

cloud appears as more personal and free. A floating feather; a sweeping wing; a vigilant angel; the cows from ‘the mission’ farm; a single Australian Plague Locust in flight, referring to the cyclical swarms of locusts; a comforting Bible; and a graceful emblematic returning boomerang. The boomerang is really the only overtly Aboriginal image in the series and the locust is one of the few native species left that is visible and cannot be swept aside. It persists…

Through the large, simply superimposed images of cloud, Michael was trying to minimalise things, to distil his ideas about physical reality and spirit. All are dichotomously connected to Dubbo and Riley and are also universal. They are not about a place but a state, the surrealistic cow with mud and manure on its hoofs floating by. In contrast to Empire’s scenes of a decayed, overworked and desolated landscape, there is no physical land in the cloud imagery.

Aboriginal creation stories begin with a sunrise and follow the journeys of an original being across a physical, seasonal and emotional landscape – seeing, experiencing, and naming this and that plant, animal, climatic occurrence and emotional feelings. Religious song cycles follow this progression. Michael’s set of large, single-subject memories can almost be thought of as a Wiradjuri song cycle of his land and his life.”

Extract from Djon Mundine. Wungguli – Shadow : Photographing the spirit and Michael Riley” on the Michael Riley: sights unseen National Gallery of Australia website.


Paddy Bedford. 'Merrmerrji–Queensland creek' 2005 


Paddy Bedford
Merrmerrji-Queensland creek
Ochre and synthetic binder on composition board
80 x 100 cm
© Paddy Bedford, reproduced courtesy of the artist’s estate and Wesfarmers Collection of Australian Art



“Paddy Bedford was a senior Gija lawman born at Bedford Downs Station in the East Kimberly region. Like many indigenous artists, he lived a long life as a stockman before he looked upon the Turkey Creek elders – Rover Thomas and Paddy Jiminji – to begin painting. Bedford’s first works were made with the inception of the Jirrawun Aboriginal Art Cooperative in 1997.

The distinctive minimalist style of his work is but a mask to the multifarious layers of meaning. Bedford’s paintings are inspired by the distinctive landscape and stories of his country in the East Kimberly region of Western Australia, as he depicts from an aerial perspective the traditional dreamings of the Cockatoo, Emu and Turkey; the massacres of local Aboriginal people during the colonial period; as well as episodes from his own life as a stockman and as a senior elder of his community.

Merrmerrji- Queensland Creek, 2005 is characteristically sparse in composition with bold forms, a rhythmic application of dotted fluid lines and a powerfully imposing colour palate, which is gained from a wet-on-wet mixture of white and ochre pigments suspended in a fast drying acrylic medium. The effect is a pearly radiant luminosity, an ambience of the sacred.” (Text from the Annette Larkin Fine Art website)



The Ian Potter Museum of Art
The University of Melbourne,
Swanston Street (between Elgin and Faraday Streets)
Parkville, Melbourne, Victoria
Tel: +61 3 8344 5148

Opening hours:
Tuesday to Friday 10 am – 5 pm
Saturday and Sunday 12 – 5 pm

The Ian Potter Museum of Art website


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Review: ‘Cubism & Australian Art’ at Heide Museum of Modern Art, Bulleen

Exhibition dates: 24th November 2009 – 8th April 2010


Perfect summer fare out at Heide at the moment – relax with a lunch at the new Cafe Vue followed by some vibrantly fresh art in the galleries. In a nicely paced exhibition, Cubism and Australian Art takes you on a journey from the 1920s to the present day, the art revealing itself wonderfully as you move through the galleries.

There are too many individual works to critique but some thoughts and ideas do stand out.


Cezanne’s us of passage, the transition between adjacent shapes, where solid forms are fused with the surrounding space was an important starting point for the beginnings of Cubism. Simultaneity – movement, space and the dynamism of modern life – was matched to Cubism’s new forms of pictorial organisation. The geometries of the Section d’Or (or the Gold Mean), that magical ratio found in all forms, also sounds an important note as it flows through the rhythmic movement and the sensations of temporal reality.

In the work from the 1920s/30s presented in the exhibition the palette of most of the works is subdued, the form of circles and geometrics. There are some beautiful paintings by one of my favorite Australian artists Roy de Maistre and others by Eric Wilson, Sam Atyeo and Jean Appleton (see image below). The feeling of these works is quiet and intense.



There are some evocative works from the 1940s/50s including Godfrey Miller’s ‘Still Life with Musical Instruments’ (1958), Graham King’s ‘Industrial Landscape’ (1959) and Ralph Balson’s ‘Constructive painting’ (1951). ‘The Charcoal Burner’ (1959) by Fred Williams (see image below) is the Australian landscape seen through Cubist eyes, surface and space perfectly commingled in reserved palette, delineated planes. Grace Crowley’s ‘Abstract Painting’ (1947, see image below) is a symphony of colour, plane and form that I would willingly take home any day of the week!



It is the contemporary work that is of most interest in this exhibition. Spatio-temporal reality is distorted as artists push the boundaries of dimensionality. The parameters of reality are blurred and extended through the use of multiple viewpoints and lines of sight. Fresh and spatially aware (like an in joke because everyone recognizes the fragmented ‘nature’ of contemporary existence) we have the sublime ‘Milky Way’ (1995, see image below) by Rosalie Gascoigne and for me the two standout pieces in the exhibition, ‘Bicycles’ (2007) by James Angus and ‘Static No.9 (a small section of something larger)’ (2005) by Daniel Crooks.

Though difficult to see in the photograph of the work (below), ‘Bicycles’ fuses three bicycles into one. “A photo finish made actual, a series of frames at the conclusion of a race transferred permanently into three dimensions.” You look and then look again: three frames into one, three tyres into one, three stands into one, three chains the only singular – like a freeze frame of a motor drive on a camera


or the slight difference of the two images of a Victorian stereoscope made triumvirate (the 3D world of Avatar comes to mind). Static, the bicycle can never work, is redundant, but paradoxically moves at the same time.

Even more mesmerizing is the video work ‘Static No.9 (a small section of something larger)’ by Daniel Crooks. Unfortunately I cannot show you the video but a still from the video can be seen below. Imagine this animated like swirling DNA (in actual fact it is people walking across an intersection at different distances and speeds to the camera – and then sections taken out of the video and layered). Swirling striations through time and space fragment identity so that people almost become code, the sound track the distorted beep beep beep of the buzzer at the crossing. I could have sat there for hours watching the performance as it crackles with energy and flow – with my oohs and aahs! The effect is magical, beautiful, hypnotic.

A great summer show – fresh, alive and well worth the journey if only to see that static in all its forms has never looked so good.




Daniel Crooks
‘Portrait #2 (Chris)’


“With these portraits I’m attempting to make large detailed images of people in their own surroundings, images of people very much in and of their time that are both intriguing and beautiful. As with a lot of my work the portraits also seek to render the experience of time in a more tangible material form, blurring the line between still and moving images and looking to new post-camera models of spatiotemporal representation.”

Daniel Crooks



Jean Appleton
‘Painting IX’
Whitworth/Bruce Collection



Elizabeth Gower
‘City Series’



Melinda Harper



Elizabeth Gower



“Cubism & Australian Art, one of the most ambitious and extensive exhibitions Heide has undertaken, shows the impact of the revolutionary and transformative movement of Cubism on Australian art from the early twentieth century to the present day. It uncovers a little-known yet compelling history through works by over eighty artists, including key examples of international Cubism drawn from Australian collections – by André Lhote, Albert Gleizes, Fernand Léger, Alexander Archipenko, Ben Nicholson and others – and nine decades of Australian modern and contemporary art that demonstrate a local evolution of cubist ideas.

The exhibition documents the earliest incorporation of cubist principles in Australian art practice in the 1920s, when artists such as Grace Crowley and Anne Dangar, who studied overseas under leading cubist artists, began to transform their art in accordance with late cubist thinking. It examines the influence of Cubism on artists associated with the George Bell School in Melbourne and the Crowley-Fizelle School in Sydney; and on those who participated in the cubist movement abroad including James Cant and John Power.

While its distortions and unconventional perspectives served individual styles such as the expressionism of Albert Tucker or the experimental landscapes of Sidney Nolan and Fred Williams, Cubism’s most enduring influence on postwar Australian art has been in abstraction. This exhibition traces its reverberations in 1950s abstract art by Roger Kemp, Robert Klippel and Ron Robertson-Swann and others, through to works by younger artists such as Stephen Bram, Gemma Smith and Justin Andrews.

Cubism’s formal and conceptual innovations and its investigations into the representation of time, space and motion have continuing relevance for artists today, who variously adapt, develop, quote and critique aspects of cubist practice. In this exhibition, Cubism’s shifting, multi-perspectival view of reality takes on new form in moving-image works by John Dunkley-Smith and Daniel Crooks, in paintings by Melinda Harper and sculptures by James Angus. The use of found objects and recycled materials by Madonna Staunton, Rosalie Gascoigne and Masato Takasaka extends ideas originating in cubist sculpture and collage. Other artists are critical of Cubism, bringing Indigenous and non-european perspectives to bear on its modernist history, particularly  its appropriation of so-called ‘primitive art’.”

Text from the Heide Museum of Modern Art website



Grace Crowley
‘Abstract painting’



Fred Williams
‘The Charcoal Burner’



Daniel Crooks
Static No.9 (a small section of something larger)’



James Angus



Rosalie Gascoigne
‘Milky Way’ (detail)



Heide Museum of Modern Art
7 Templestowe Road, Bulleen, Victoria 3105

Opening hours:
(Heide II & Heide III)
Tue–Fri 10.00am–5.00pm
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Review: Rosalie Gascoigne at The Ian Potter Centre: NGV Australia, Melbourne

9 December 2008 – 15 March 2009


“Rosalie Gascoigne’s art comes from, is inspired by, and in turn reflects the spare countryside of the southern tablelands and the Monaro district, a unique natural environment that lies relatively close to Canberra, the artist’s home of more than fifty years. Gascoigne’s transformation and re-investment in her work of battered and weathered materials sourced in the landscape surrounding Canberra also highlights the importance of collecting to her oeuvre, as different materials appear in works from across the decades …
Gascoigne’s knowledge and love of language and of Romantic poetry is evident in many of her works as she aspired to make art that achieved ‘allusive and illusive’ qualities that she experienced in this form. Through the artist’s skill in making poetry of the commonplace and her intrinsic response to both her chosen materials and the particularities of the Australian landscape, we are able to witness her unique ability to evocatively capture and convey the essence of nature and the transitory and captivating effects of light, air and space.” 

Wall text from the exhibition


Rosalie Gascoigne. 'Forty acre block' 1977


Rosalie Gascoigne
‘Forty acre block’
Painted wood and metal, collage


This exhibition is a relatively small, muscular yet poetic evocation of the life and work of one of my favourite Australian artists, Rosalie Gascoigne. Perhaps I have an affinity with this artist that goes beyond words: being English I have grown to love the Australian landscape but to see the way Gascoigne visions it is a truly moving experience. I have also admired artists that can successfully combine images and sculptural elements visually in their work, language and memory impinging on consciousness (hence my infatuation with the work of Joseph Cornell).

As we enter the exhibition early constructions – wooden boxes – are presented dating from 1975 – 1984. These have a rough hewn, rustic charm to them, made as they are of weathered thick planks of wood. Less refined than the boxes of Joseph Cornell (see below) they nevertheless draw on the Australian vernacular in their use of objects. As with the Cornell boxes there is a strong element of childhood fun and games in these constructions. ‘Dolly boxes’ (1976) for example contains innumerable plastic dollies of different sizes held inside wooden boxes; ‘Black bird box’ (1976) is like a shooting gallery at a fun fair; other boxes feature birds and sea shells trapped in plastic bottles, printed images of moths, test tubes, candlesticks, metal teapots and children’s bicycle seats. ‘Cloister’ (1977) below echoes the work of Joseph Cornell in it’s use of classical Renaissance imagery but with a rustic Australian charm. Unlike Cornell’s boxes which are enclosed dreamscapes that do not live in the world, Cascoigne’s boxes are made her own by being open and receptive to the landscape from which they merge, by being open to the world.


Rosalie Gascoigne. 'Cloister' 1977


Rosalie Gascoigne


Joseph Cornell. 'Medici Princess' 1948


Joseph Cornell
‘Medici Princess’


‘Forty acre block’ (1977, see image at top of entry) is a play on the great Aussie dream of owning your own 1/4 acre block. Inside the crate like tableaux we find cardboard parrots perched menacingly on rusted cylindrical metal tubes, two cardboard cut out cows with their white faces turned towards the viewer and at the rear of the box a sun-bleached picture of an orchard and three cows with human heads: a surreal vision of the Aussie landscape. Continuing the playfulness ‘Parrot morning’ (1976, below) extends the theme, the bicycle wheel almost having elements of Duchamp’s readymades but given an Australian twist with the perching parrots.


Rosalie Gascoigne. 'Parrot morning' 1976


Rosalie Gascoigne
‘Parrot morning’


Moving forward we find one of my favourite works, ‘Feathered chairs’ (1978), a most beautiful evocation of technology and nature. Two red rusted 1950’s office chairs sit low on the floor, their seats, back and sides replaced by four rows of dark Commorant feathers held in place by wooden slats clamped together. Simple yet eloquent these surreal chairs have a poetic rhythm of place and space, speaking of the abandonment of  technology and it’s re-habitation by a trapped but beautiful nature.


Rosalie Gascoigne. 'Feathered chairs' 1978       Rosalie Gascoigne. ‘Feathered chairs’ 1978


Other work becomes simpler, more focused around this time (and especially from 1984 onwards) as though the artist was finding her singular voice, was confident of the ‘less is more’ rhythms of the music she was creating. The essence appears of the land, artefacts and spaces. In ‘Swell’ (1984) for example two convex forms of corrugated iron (one horizontal, one vertical) play off of each other, forming an opposing flow of energies like the swelling of the sea. Nothing else is needed.

In ‘Step through’ (1980) fragments of floral linoleum floor are mounted on wooden blocks at differing heights allowing the viewer to visually wander across the space of the installation as their mind wanders to memories of the floors of Australian kitchens of the 1950’s  – either seen in childhood or in photographs – their is a recognition from all ages, in all Australians.


Rosalie Gascoigne. 'Step through' 1980


Rosalie Gascoigne
‘Step through’

This theme is further developed in the gridded ‘Inland sea’ (1986, below) patches of corrugated iron float above the ground like gently moving waves. Beautiful in it’s simplicity the colours, shapes and spaces evocatively reflect the undulating rise and fall of the landscape from which the iron has been rescued, the breath of air on the wind rippling the water.


Rosalie Gascoigne. 'Inland sea' 1986


Rosalie Gascoigne
‘Inland sea’
Weathered painted corrugated iron, wire


The use of regularized block and grids start to appear in wall mounted vistas: of loopholes, of lovers, the metropolis and the fall, of beach houses and far views, of grasslands and medusas. ‘Promised land’ (1986) offers a vision resplendent of a far away country – the promised land abstracted to Tarax, Dales, Cottee’s, Blue Bow home deliveries of a Sparkling Fruity Flavour! box ends, the 32 Fl. Oz weight weighing the vision of the Australian landscape in the balance.


Rosalie Gascoigne. 'Sweet lovers' 1990


Rosalie Gascoigne
‘Sweet lovers’


The most effective work uses the yellow colour of Schweppes boxes. In ‘Monaro’ (1989), one of my favourite works in the exhibition the painted blocks of yellow wood with unreadable fragmented words on them become, from a distance, like the wafting waving dried grasses of the Monaro landscape around Gascoigne’s home. Liquid music of air and place.

“I like the gold of the Schweppes boxes. I think that gold is one of the classical colours. I don’t care if it has got Schweppes written all over it, people seem to think I care. I don’t care! I just like the black and yellow. When I started I had lots of off-cuts, little pieces too good to throw away. So I started joining them up in a sort of way, walking around them, adding a few more. I soon had a 6 x 4 foot panel. In the end I realised that I needed to have four panels to say what I wanted to say. As it grew so did I. I kept thinking of the Monaro grasslands, and I thought of David Campbell saying ‘the Monaro rolls on to the sea.” 

Graeme Sullivan, Seeing Australia – Views of artists and art writers, Piper Press, Annandale, New South Wales, 1994, p. 19.


‘Summer swarm’ (1995) features small yellow blocks of wood an assemblage of yellow bees; ‘Grassfest’ (1999, below) like a stand of yellow grass under the Australian sun; ‘Metropolis’ (1999, below) collaged and patched road signs are worked together overlaying spaces and language. In Plenty’ (1986) yellow wood bricks mounted in panels are held in place with rusted metal nails. if you move close to the work the effect is immersive – every inflection of colour, grain of the wood, knot, nail hole, rub, scuff, daub of paint becomes evident. Every block is same but different, an almost transcendental experience.

In this work there is a refining of the essence of her vision of the world, a paring back of all extraneous elements but conversely an expansion in the energy of the work. A mature artist at the peak of their power.


Rosalie Gascoigne. 'Grassfest' 1999


Rosalie Gascoigne


Rosalie Gascoigne. 'Metropolis' 1999


Rosalie Gascoigne


In the ‘white’ work ‘Star chart’ (1995), ‘Milky way’ (1995) heaven and earth reflect each other, the grids and patterns linked in a cosmic dance. ‘But mostly air’ (1994 – 1995) the large installation that closes the exhibition confirms this dance, containing as it does white blocks of wood (invisible air) with a row of weathered wooden posts propped up against the gallery wall and animal spirits made of wooden blocks: faces with wings and ears, gasping for breath, white animals on a white background hovering between here and there, between heaven and earth.


Rosalie Gascoigne. 'White city' 1993


Rosalie Gascoigne
‘White city’


This is a wonderful exhibition. Gascoigne rightly commands a place in the pantheon of Australian stars. She has left us with a legacy of music that evokes the rhythms, the air, the spaces and colours of our country. As she herself said,

“Look at what we have: Space, skies. You can never have too much of nothing.”


Nothing more, nothing less.


M Bunyan



More information on Rosalie Gascoigne exhibition on the The Ian Potter Centre: NGV Australia website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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