Posts Tagged ‘Australian art

09
Oct
22

Exhibition: ‘Spowers & Syme’ at the Geelong Art Gallery, Victoria

Exhibition dates: 16th July – 16th October 2022

A National Gallery Touring Exhibition

Curator: Dr Sarina Noordhuis-Fairfax, Curator of Australian Prints and Drawings at the National Gallery of Australia, Kamberri/Canberra

 

 

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery showing photographs of both Ethel Spowers and Eveline Syme

 

Installation view of the exhibition Spowers & Syme at the Geelong Art Gallery showing photographs of both Ethel Spowers and Eveline Syme (below)
Photo: Marcus Bunyan

 

 

My friend and I travelled down the highway from Melbourne to Geelong especially to see this National Gallery of Australia touring exhibition – and my god, was it worth the journey!

I have always loved woodcuts and the Art Deco era so it was a great pleasure to see the work of two very talented artists from this period, who were “enthusiastic exponents of modern art in Melbourne during the 1930s and ’40s.” Modern art that would have challenged the conservative (male) art conventions of the day, much as modernist photographs by Max Dupain challenged the ongoing power of Pictorialist photography in 1930s Australia.

From viewing the exhibition it would seem to me that Eveline Syme has the sparer, more ascetic aesthetic. Her forms are more graphic, her lines more severe, her spaces more “blocky” (if I can use that word – in other words, more positive and negative space), her colour palette more restrained than in the work of Ethel Spowers. But her work possesses its own charm: a wonderful Japanese inspired landscape such as The factory (1933, below), with its mix of modernism and naturalism; silhouetted blue figures full of dynamism, movement in a swirling circular motif in Skating (1929, below); or the flattened perspective and 3 colour palette of Sydney tram line (1936, below) – all offer their own delicious enjoyment of the urban landscape.

But the star of the show is the work of the astonishing Ethel Spowers. Her work is luminous… containing such romanticism, fun, humour, movement, play, intricate design, bold colours, lyrical graphics… and emotion – that I literally went weak at the knees when viewing these stunningly beautiful art works. There is somethings so joyful about Spowers designs that instantly draws you in, that makes you smile, that made me cry! They really touched my heart…

Even now writing about them, they seem to me like stills from a dream, scenes out of a fairy tale: the pattern of the white gulls obscuring the plough; the rays of sunlight striking the ground behind The lonely farm; the mysterious stillness of The island of the dead; the arching leap over the rope in Fox and geese; the pyramid construction of Football; the delicacy of movement and line in Swings; and the butterfly-like canopies in Wet afternoon. I could go on and on about the joy these works brought me when looking at them, their vivaciousness, their intense, effervescent spirit. If you get a chance before the exhibition closes next weekend in Geelong please go to see them.

As you may have gathered I am totally in love with the work of Ethel Spowers. Thank you, thank you to the artist for making them, and thank you to the energy of the cosmos for allowing me to see them in person!

Dr Marcus Bunyan

.
Many thankx to Geelong Art Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation images © Marcus Bunyan, Geelong Art Gallery and the National Gallery of Australia.

 

 

“Is it too great a truism to repeat that the best art is always the child of its own age?”

.
Eveline Syme

 

 

Celebrating the artistic friendship of Melbourne artists Ethel Spowers and Eveline Syme, the National Gallery Touring Exhibition Spowers and Syme will present the changing face of interwar Australia through the perspective of two pioneering modern women artists.

The exhibition offers rare insight into the unlikely collaboration between the daughters of rival media families. Studying together in Paris and later with avant-garde printmaker Claude Flight in London, Ethel Spowers and Eveline Syme returned to the conservative art world of Australia – where they became enthusiastic exponents of modern art in Melbourne during the 1930s and ’40s.

Much-loved for their innovative approach to lino and woodcut techniques, Spowers and Syme showcases their dynamic approach through prints and drawings whose rhythmic patterns reflect the fast pace of the modern world through everyday observations of childhood themes, overseas travel and urban life.

Text from the Geelong Gallery website

 

 

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

 

Installation views of the exhibition Spowers & Syme at the Geelong Art Gallery
Photos: Marcus Bunyan

 

Photographer unknown. 'Portrait of Miss EL Spowers, a passenger on board the 'Orama'' 19 March 1935 (installation view)

 

Photographer unknown
Portrait of Miss EL Spowers, a passenger on board the ‘Orama’ (installation view)
19 March 1935
Fremantle
Reproduction courtesy of The West Australian, Perth
Photo: Marcus Bunyan

 

Photographer unknown. 'Miss Eveline W. Syme, who is in charge of the library section of the Australian Red Cross Society, is seen displaying a typical parcel of books as sent out to hospitals, convalescent depots etc. This parcel contains about forty units, covering a wide range of literature' 13 May 1943 (installation view)

 

Photographer unknown
Miss Eveline W. Syme, who is in charge of the library section of the Australian Red Cross Society, is seen displaying a typical parcel of books as sent out to hospitals, convalescent depots etc. This parcel contains about forty units, covering a wide range of literature (installation view)
13 May 1943
Melbourne
Reproduction courtesy of the Australian War Memorial, Canberra
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The gust of wind' 1931 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The gust of wind (installation view)
1931
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The gust of wind' 1931

 

Ethel Spowers (Australian, 1890-1947)
The gust of wind
1931
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Ethel Spowers (Australian, 1890-1947) 'Special edition' 1936 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Special edition (installation view)
1936
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

 

Raised in Toorak society, Ethel Spowers was the second daughter of William Spewers, an Aotearoa New Zealand-born journalist and proprietor of The Argus and The Australasian newspapers. The Spowers family lived at Toorak House in St Georges Road. Eveline Syme was the first-born daughter of company director and pastoralist Joseph Syme, who was a partner in competing newspaper The Age until 1891. The Syme family lived at Rotherfield (now Sherwood Hall) in St Kilda. Eveline moved to Toorak in around 1927.

Wall text

 

Ethel Spowers (Australian, 1890-1947) 'Special edition' 1936 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Special edition
1936
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Melbourne from the river' c. 1924 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Melbourne from the river (installation view)
c. 1924
Melbourne
Woodcut, printed in colour inks in the Japanese manner, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

 

A sense of place is important to all of us. For Spowers and Syme, Melbourne (Naarm) was their home and held a special place in their hearts. In the 1920s, Melbourne was an important city. Lively and busy, it was also very accessible to the river and beautiful landmarks. The Yarra River (Birrarung) winding gently through the city and the industrial landscape at Yallourn were worthy subjects to focus on. Spowers’ earlier work Melbourne from the river c 1924 (below) was created looking at the river and is framed by spindly trees.

Text from the National Gallery of Australia website

 

Ethel Spowers (Australian, 1890-1947) 'Melbourne from the river' c. 1924 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Melbourne from the river (installation view)
c. 1924
Melbourne
Woodcut, printed in colour inks in the Japanese manner, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Melbourne from the river' c. 1924

 

Ethel Spowers (Australian, 1890-1947)
Melbourne from the river
c. 1924
Melbourne
Woodcut, printed in colour inks in the Japanese manner, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Eveline Syme (Australian, 1888-1961) 'Banks of the Yarra' 1935 (installation view)

 

Eveline Syme (Australian, 1888-1961)
Banks of the Yarra (installation view)
1935
Melbourne
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Photo: Marcus Bunyan

 

Eveline Syme (Australian, 1888-1961) 'Banks of the Yarra' 1935

 

Eveline Syme (Australian, 1888-1961)
Banks of the Yarra
1935
Melbourne
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra

 

Eveline Syme (Australian, 1888-1961) 'The bay' 1932 (installation view)

Eveline Syme (Australian, 1888-1961) 'The bay' 1932 (installation view)

 

Eveline Syme (Australian, 1888-1961)
The bay (installation views)
1932
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1977
Photos: Marcus Bunyan

 

Eveline Syme (Australian, 1888-1961) 'The bay' 1932

 

Eveline Syme (Australian, 1888-1961)
The bay
1932
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1977

 

 

Geelong Gallery is delighted to present National Gallery of Australia Touring Exhibition, Spowers & Syme opening on Saturday 16 July 2022.

Celebrating the artistic friendship of Melbourne artists Ethel Spowers and Eveline Syme, the Know My Name touring exhibition presents the changing
face of interwar Australia through the perspective of two pioneering women artists.

The National Gallery’s Curator of Australian Prints and Drawings, Dr Sarina Noordhuis-Fairfax hopes that Geelong and Victorian audiences will add the
names Spowers and Syme to their knowledge of ground-breaking women artists from the era including Margaret Preston, Thea Proctor, Dorrit Black and Grace Cossington Smith.

‘Spowers and Syme are often overlooked in Australian art history, yet during the 1930s they were recognised by peers as being among the most progressive artists working in Melbourne.’

‘Exhibiting in Australia and England, they championed key ideas from European modernism such as contemporary art reflecting the pace and vitality of life,’ said Noordhuis-Fairfax.

Much-loved for their dynamic approach to lino and woodcut prints, Spowers & Syme offers rare insights into the creative alliance between the daughters of rival media families from Melbourne-based newspapers The Argus and The Age. After studying art together in Paris and London, Spowers and Syme returned to the conservative art world of Australia where they became enthusiastic exponents of modern art during the 1930s and 1940s.

Geelong Galley Director & CEO, Jason Smith says ‘We look forward to sharing the important works of Spowers and Syme and exploring their contributions further through a number of public and education programs. Spowers & Syme will be further contextualised by modernist works by women artists in our Geelong permanent collection including a major survey of printmaker, Barbara Brash.

Press release from the Geelong Art Gallery

 

 

Ethel Spowers (Australian, 1890-1947) 'Balloons' c. 1920

 

Ethel Spowers (Australian, 1890-1947)
Balloons
c. 1920
National Gallery of Australia, Kamberri/Canberra
Gift of Chris Montgomery 1993

 

Eveline Syme (Australian, 1888-1961) 'The factory' 1933 (installation view)

 

Eveline Syme (Australian, 1888-1961)
The factory (installation view)
1933
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1979
Photo: Marcus Bunyan

 

Eveline Syme (Australian, 1888-1961) 'The factory' 1933

 

Eveline Syme (Australian, 1888-1961)
The factory
1933
National Gallery of Australia, Kamberri/Canberra
Purchased 1979

 

Eveline Syme (Australian, 1888-1961) 'Beginners' class' 1956

 

Eveline Syme (Australian, 1888-1961)
Beginners’ class
1956
National Gallery of Australia, Kamberri/Canberra
Purchased 1992

 

Ethel Spowers (Australian, 1890-1947) 'Drawing for the linocut 'School is out'' 1936 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Drawing for the linocut ‘School is out’ (installation view)
1936
Melbourne
Drawing in pen and black ink over pencil
National Gallery of Australia, Kamberri/Canberra
Gift of Chris Montgomery 1993
Photo: Marcus Bunyan

 

 

At the end of 1936 Spowers held her sixth and final solo exhibition. It was a survey of old favourites and new works, spanning a decade of imagination and experimentation. Among the twenty prints and six watercolours shown at Grosvenor Galleries in Sydney were five fresh linocuts: Kites, Football, School is out, Children’s hoops and Special edition. These works were a return to her most treasured themes: children and family.

Wall text

 

Ethel Spowers (Australian, 1890-1947) 'School is out' 1936

 

Ethel Spowers (Australian, 1890-1947)
School is out
1936
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

 

Ethel Spowers and Eveline Syme captured the joy and dynamism of movement in sport and play. Through colour, pattern and intersecting lines we see the speed and energy of children skipping, running, reaching to catch a ball and the pace of skaters circling the rink in the icy coldness. Who could forget the wonderful feeling of swinging as high as possible, looking down at the world?

Spowers’ images of children playing are reminiscent of her own childhood and have a whimsical charm about them. They capture the sense of wonder and curiosity seen in young children.

Linoleum (lino) was a floor covering that was invented in 1860. Imaginative artists discovered how effective it was for creating prints. With the right tools, it was easy to carve an image into it and make prints using coloured inks on the exposed surface.

Anonymous text. “Play and Games – Spowers & Syme: Primary School Learning Resource,” on the National Gallery of Australia website Nd [Online] Cited 29/08/2022

 

Ethel Spowers (Australian, 1890-1947) 'The bamboo blind' 1926

 

Ethel Spowers (Australian, 1890-1947)
The bamboo blind
1926
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

 

Ethel Louise Spowers (1890-1947), painter and printmaker, was born on 11 July 1890 at South Yarra, Melbourne, second of six children of William George Lucas Spowers, a newspaper proprietor from New Zealand, and his London-born wife Annie Christina, née Westgarth. Allan Spowers was her only brother. She was educated at the Church of England Girls’ Grammar School, Melbourne, and was a prefect in 1908. Wealthy and cultured, her family owned a mansion in St Georges Road, Toorak. Ethel continued to live there as an adult and maintained a studio above the stables.

After briefly attending art school in Paris, Miss Spowers undertook (1911-1917) the full course in drawing and painting at Melbourne’s National Gallery schools. Her first solo exhibition, held in 1920 at the Decoration Galleries in the city, showed fairy-tale drawings influenced by the work of Ida Outhwaite. In 1921-1924 Spowers worked and studied abroad, at the Regent Street Polytechnic, London, and the Académie Ranson, Paris. She exhibited (1921) with fellow Australian artist Mary Reynolds at the Macrae Gallery, London. Two further solo shows (1925 and 1927) at the New Gallery, Melbourne, confirmed her reputation as an illustrator of fairy tales, though by then she was also producing woodcuts and linocuts inspired by Japanese art and covering a broader range of subjects.

A dramatic change in Spowers’ style occurred in 1929 when she studied under Claude Flight (the leading exponent of the modernist linocut) at the Grosvenor School of Modern Art, London. Her close friend Eveline Syme joined her there. Following further classes in 1931, during which Spowers absorbed modernist ideas of rhythmic design and composition from the principal Iain Macnab, she published an account of the Grosvenor School in the Recorder (Melbourne, 1932). In the 1930s her linocuts attracted critical attention for their bold, simplified forms, rhythmic sense of movement, distinctive use of colour and humorous observation of everyday life, particularly the world of children. They were regularly shown at the Redfern Gallery, London. The British Museum and the Victoria and Albert Museum purchased a number of her linocuts.

Stimulated by Flight’s proselytising zeal for the medium, Spowers organised in 1930 an exhibition of linocuts by Australian artists, among them Syme and Dorrit Black, at Everyman’s Library and Bookshop, Melbourne. A founding member (1932-1938) of George Bell‘s Contemporary Group, Spowers defended the modernist movement against its detractors. In an article in the Australasian on 26 April 1930 she called on ‘all lovers of art to be tolerant to new ideas, and not to condemn without understanding’.

Frances Derham remembered Spowers as being ‘tall, slender and graceful’, with ‘a small head, dark hair and grey eyes’. A rare photograph of Spowers, published in the Bulletin (3 September 1925), revealed her fashionable appearance and reflective character. In the late 1930s she stopped practising as an artist due to ill health, but continued her voluntary work at the Children’s Hospital. She died of cancer on 5 May 1947 in East Melbourne and was buried with Anglican rites in Fawkner cemetery. Although she had destroyed many of her paintings in a bonfire, a memorial exhibition of her watercolours, line-drawings, wood-engravings and colour linocuts was held at George’s Gallery, Melbourne, in 1948. Her prints are held by the National Gallery of Australia, Canberra, State galleries in Melbourne and Sydney, and the Ballarat Fine Art Gallery, Victoria.

Stephen Coppel. “Spowers, Ethel Louise (1890-1947),” in the Australian Dictionary of Biography, Volume 16 , 2002, online in 2006 [Online] Cited 26/08/2022

 

Eveline Syme (Australian, 1888-1961) 'The Yarra at Warrandyte' 1931 (installation view)

Eveline Syme (Australian, 1888-1961) 'The Yarra at Warrandyte' 1931 (installation view)

 

Eveline Syme (Australian, 1888-1961)
The Yarra at Warrandyte (installation views)
1931
National Gallery of Australia, Kamberri/Canberra
Purchased 1977
Photos: Marcus Bunyan

 

Eveline Syme (Australian, 1888-1961) 'The Yarra at Warrandyte' 1931

 

Eveline Syme (Australian, 1888-1961)
The Yarra at Warrandyte
1931
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1977

 

 

Eveline Winifred Syme (1888-1961), painter and printmaker, was born on 26 October 1888 at Thames Ditton, Surrey, England, daughter of Joseph Cowen Syme, newspaper proprietor, and his wife Laura, née Blair. Ebenezer Syme was her grandfather. Eveline was raised in the family mansion at St Kilda, Melbourne. After leaving the Church of England Girls’ Grammar School, Melbourne, she voyaged to England and studied classics in 1907-1910 at Newnham College, Cambridge (B.A., M.A., 1930). Because the University of Cambridge did not then award degrees to women, she applied to the University of Melbourne for accreditation, but was only granted admission to third-year classics. She chose instead to complete a diploma of education (1914).

Syme’s artistic career was enhanced by her close friendship with Ethel Spowers. She studied painting at art schools in Paris in the early 1920s, notably under Maurice Denis and André Lhote, and held a solo exhibition, mainly of watercolours, at Queen’s Hall, Melbourne, in 1925. Her one-woman shows, at the Athenaeum Gallery (1928) and Everyman’s Library and Bookshop (1931), included linocuts and wood-engravings. While many of her watercolours and prints drew on her travels through England, Provence, France, and Tuscany, Italy, she also responded to the Australian landscape, particularly the countryside around Melbourne and Sydney, and at Port Arthur, Tasmania. Syme’s chance discovery of Claude Flight’s textbook, Lino-Cuts (London, 1927), inspired her to enrol (with Spowers) in his classes at the Grosvenor School of Modern Art, London, in January 1929. In keeping with Flight’s modernist conception of the linocut, she began to produce prints incorporating bold colour and rhythmic design.

Returning to Melbourne in 1929 with an exhibition of contemporary wood-engravings from the Redfern Gallery, London, Syme became a cautious advocate of modern art. She published a perceptive account of Flight and his teaching in the Recorder (1929) and spoke on the radio about wood-engraving; she also wrote a pioneering essay on women artists in Victoria from 1857, which was published in the Centenary Gift Book (1934), edited by Frances Fraser and Nettie Palmer. Syme was a founding member (1932-1938) of George Bell‘s Contemporary Group. She regularly exhibited with the Melbourne Society of Women Painters and Sculptors and with the Independent Group of Artists. Her linocuts, perhaps her most significant achievement, owed much to her collaboration with Spowers.

During the mid-1930s Syme was prominent in moves to establish a women’s residential college at the University of Melbourne. In 1936, as vice-president of the appeal committee, she donated the proceeds of her print retrospective (held at the gallery of the Arts and Crafts Society of Victoria) to the building fund. A foundation member (1936-1961) of the council of University Women’s College, she served as its president (1940-1947) and as a member of its finance committee. She was appointed to the first council of the National Gallery Society of Victoria in 1947 and sat on its executive-committee in 1948-1953. In addition, she was a member (1919) and president (1950-1951) of the Lyceum Club.

A tall, elegant and reserved woman, Syme had a ‘crisp, quick voice’ and a ‘rather abrupt manner’. She died on 6 June 1961 at Richmond and was buried with Presbyterian forms in Brighton cemetery. In her will she left her books and £5000 to University Women’s College. Edith Alsop’s portrait (1932) of Syme is held by University College. Syme’s work is represented in the National Gallery of Australia, Canberra, State galleries in Melbourne, Sydney and Adelaide, and the Ballarat Fine Art Gallery, Victoria.

Stephen Coppel. “Syme, Eveline Winifred (1888-1961),” in the Australian Dictionary of Biography, Volume 16 , 2002, online in 2006 [Online] Cited 26/08/2022

 

Installation view of the exhibition 'Spowers & Syme' at the Geelong Art Gallery

 

Installation view of the exhibition Spowers & Syme at the Geelong Art Gallery showing at top left, Spowers The timber crane (1926, below); at top right, Spowers The plough (1928, below); at bottom left, Spowers The works, Yallourn (1933, below); and at bottom right, Spowers The lonely farm (1933, below)
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The timber crane' 1926 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The timber crane (installation view)
1926
Melbourne
Linocut, printed in colour inks in the Japanese manner, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The plough' 1928 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The plough (installation view)
1928
London
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The plough' 1928

 

Ethel Spowers (Australian, 1890-1947)
The plough
1928
London
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978

 

Ethel Spowers (Australian, 1890-1947) 'The works, Yallourn' 1933

 

Ethel Spowers (Australian, 1890-1947)
The works, Yallourn
1933
Linocut
15.7 x 34.8cm (printed image)
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Eveline Syme (Australian, 1888-1961) 'Bulla Bridge' 1934

 

Eveline Syme (Australian, 1888-1961)
Bulla Bridge
1934
Wood engraving
10.1 x 14.7cm (printed image)
National Gallery of Australia, Kamberri/Canberra
Purchased 1977

 

Ethel Spowers (Australian, 1890-1947) 'The lonely farm' 1933 (installation view)

Ethel Spowers (Australian, 1890-1947) 'The lonely farm' 1933 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The lonely farm (installation views)
1933
Melbourne
Linocut, printed in colour inks, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photos: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Harvest' 1932 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Harvest (installation view)
1932
Melbourne
Linocut, printed in colour inks, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Harvest' 1932

 

Ethel Spowers (Australian, 1890-1947)
Harvest
1932
Melbourne
Linocut, printed in colour inks, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Ethel Spowers (Australian, 1890-1947) 'The joke' 1932 (installation view)

Ethel Spowers (Australian, 1890-1947) 'The joke' 1932 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The joke (installation views)
1932
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photos: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The joke' 1932

 

Ethel Spowers (Australian, 1890-1947)
The joke
1932
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Ethel Spowers (Australian, 1890-1947) 'The island of the dead' 1927 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The island of the dead (installation view)
1927
Melbourne
Linocut, printed in colour inks in the Japanese manner, from seven blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1995
Photo: Marcus Bunyan

 

 

In January 1927 Spowers and Syme holidayed in Iutruwita / Tasmania. After they visited the penal settlement at Port Arthur, Spowers produced this view of the nearby cemetery of Point Puer. Following this trip, Syme made a monochrome wood-engraving, The ruins, Port Arthur c. 1927

Wall text

 

Ethel Spowers (Australian, 1890-1947) 'The island of the dead' 1927

 

Ethel Spowers (Australian, 1890-1947)
The island of the dead
1927
Melbourne
Linocut, printed in colour inks in the Japanese manner, from seven blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1995

 

Eveline Syme (Australian, 1888-1961) 'Skating' 1929 (installation view)

 

Eveline Syme (Australian, 1888-1961)
Skating (installation view)
1929
London
Linocut, printed in colour inks, from two blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1979
Photo: Marcus Bunyan

 

 

When Syme joined Spowers at the Grosvenor School of Modern Art in January 1929 she made the two-block linocut Skating, which summarises Claude Flight’s teachings on how a composition ‘builds into a geometrical pattern of opposing rhythms’. Her design is simplified, using the repetition of intersecting lines and curves to suggest action. Although the skaters are frozen mid-turn, the print is filled with light and movement, with Syme’s humorous suggestion of novice efforts captured in awkwardly angled arms and legs.

Wall text

 

Eveline Syme (Australian, 1888-1961) 'Skating' 1929

 

Eveline Syme (Australian, 1888-1961)
Skating
1929
London
Linocut, printed in colour inks, from two blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1979

 

Ethel Spowers (Australian, 1890-1947) 'Fox and geese' 1933 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Fox and geese (installation view)
1933
Melbourne
Linocut, printed in colour inks, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Fox and geese' 1933

 

Ethel Spowers (Australian, 1890-1947)
Fox and geese
1933
Melbourne
Linocut, printed in colour inks, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978

 

Ethel Spowers (Australian, 1890-1947) 'Football' 1936 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Football (installation view)
1936
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1982
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Tug of war' 1933 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Tug of war (installation view)
1933
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Tug of war' 1933

 

Ethel Spowers (Australian, 1890-1947)
Tug of war
1933
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

 

Ethel Spowers and Eveline Syme were lifelong friends who inspired and encouraged each another in their artistic pursuits. They were pioneers in printmaking and modern art and their careers reflected the changing circumstances of women after World War 1. Spowers and Syme were among a core group of progressive Australian artists who travelled widely and studied with avant-garde artists. They were at the forefront of Modernism in Australia.

Both women grew up in Melbourne in very comfortable circumstances. Their fathers ran rival newspapers, so their families had many common interests. Spowers’ father was involved with The Argus and The Australasian, while Syme’s father helped run The Age. Both families were dedicated to many causes and generous in their efforts to help others. They also supported war efforts and the Red Cross.

Spowers was the second child of six siblings and her home life was filled with rich and varied creative experiences. Her family lived in a large home in inner Melbourne called Toorak House, a graceful mansion with large gardens to play in and explore. Syme was also one of six siblings and lived nearby in a large house in St Kilda called Rotherfield.

Spowers and Syme studied and travelled together in Australia and overseas. Both were inspired by the artist Claude Flight who taught them at the Grosvenor School in London. He encouraged his students to capture the joy of movement through colour and rhythmic line and the new method of colour linocut printing. Spowers and Syme became strong supporters of being brave as artists, prepared to experiment and promote new ways of doing and seeing.

Throughout their lives the two friends advocated for important causes. Spowers’ focus was always on the welfare of children through her involvement in kindergarten education and volunteering at the local children’s hospital. Syme was particularly dedicated to the advancement of women’s university education.

Anonymous text. “About the Artists – Spowers & Syme: Primary School Learning Resource,” on the National Gallery of Australia website Nd [Online] Cited 29/09/2022

 

Eveline Syme (Australian, 1888-1961) 'San Domenico, Siena' 1931 (installation view)

Eveline Syme (Australian, 1888-1961) 'San Domenico, Siena' 1931 (installation view)

 

Eveline Syme (Australian, 1888-1961)
San Domenico, Siena (installation view)
1931
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1977
Photos: Marcus Bunyan

 

 

An inveterate traveller, Syme produced drawings and watercolours of landscape views from her trips around Victoria, her voyages to England via Colombo, and her travels through Europe, Japan, Hong Kong and the United States of America. In addition to exhibiting her watercolours, Syme often used these compositions as the basis for subsequent prints and oil paintings.

Wall text

 

Eveline Syme (Australian, 1888-1961) 'Hong Kong harbour' 1934 (installation view)

Eveline Syme (Australian, 1888-1961) 'Hong Kong harbour' 1934 (installation view)

 

Eveline Syme (Australian, 1888-1961)
Hong Kong harbour (installation views)
1934
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photos: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Swings' 1932 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Swings (installation view)
1932
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Swings' 1932

 

Ethel Spowers (Australian, 1890-1947)
Swings
1932
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Eveline Syme (Australian, 1888-1961) 'Sydney tram line' 1936 (installation view)

Eveline Syme (Australian, 1888-1961) 'Sydney tram line' 1936 (installation view)

 

Eveline Syme (Australian, 1888-1961)
Sydney tram line (installation views)
1936
Melbourne
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1979
Photos: Marcus Bunyan

 

 

Powers and Syme were associated with numerous art and social group, which established intersecting circles of connection and opportunity in Melbourne and Sydney. During the 1930s they both exhibited in Sydney with other progressive artists at Dorrit Black’s Modern Art Centre and with the Contemporary Group co-founded by Thea Proctor. This print is based on an earlier watercolour by Syme, drawn after staying with Spowers’ sister at Double Bay in 1932.

Wall text

 

Eveline Syme (Australian, 1888-1961) 'Sydney tram line' 1936

 

Eveline Syme (Australian, 1888-1961)
Sydney tram line
1936
National Gallery of Australia, Kamberri/Canberra
Purchased 1979
© Estate of Eveline Syme

 

Ethel Spowers (Australian, 1890-1947) 'Still life' 1925 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Still life (installation view)
1925
Melbourne
Wood-engraving, printed in black ink, from one block
National Gallery of Australia, Kamberri/Canberra
Purchased 1981
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The noisy parrot' 1926 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The noisy parrot (installation view)
1926
Melbourne
Woodcut, printed in colour inks in the Japanese manner, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 2015
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'The noisy parrot' 1926

 

Ethel Spowers (Australian, 1890-1947)
The noisy parrot
1926
Melbourne
Woodcut, printed in colour inks in the Japanese manner, from five blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 2015

 

Ethel Spowers (Australian, 1890-1947) 'Wet afternoon' 1930 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Wet afternoon (installation view)
1930
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1983
Photo: Marcus Bunyan

 

 

In July 1930 Claude Flight included this print in British lino-cuts, the second annual exhibition held at the Redfern Gallery in London. Impressions were acquired by the Victoria & Albert museum and the British Museum. Wet afternoon was exhibited again in September at the annual exhibition of the Arts and Crafts Society of Victoria at Melbourne Town Hall and in the first exhibition of linocuts in Australia held in December at Everyman’s Lending Library in the centre of avant-garde Melbourne.

Wall text

 

Ethel Spowers (Australian, 1890-1947) 'Wet afternoon' 1930

 

Ethel Spowers (Australian, 1890-1947)
Wet afternoon
1930
Melbourne
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1983

 

 

Prints, pigments & poison

The vibrant works by Ethel Spowers and Eveline Syme, printed on smooth Japanese gampi papers from 1927 to 1950, demanded special consideration during conservation preparation from the Spowers & Syme exhibition. Andrea Wise, Senior Conservator, Paper, explains the process and details the green pigment with the toxic backstory. …

The typical palette in Spowers & Syme works feature carbon black, yellow and brown ochres, ultramarine, cobalt and cerulean blues, emerald green and two organic lake pigments – alizarin crimson and a distinct lilac. Lake pigments are made by attaching a dye to a base material such as alumina, making a dyestuff into a workable particulate pigment. This process can also extend more expensive dyestuffs, making them cheaper to use. Bound with oil to create printer’s inks, this limited palette was then overprinted to achieve a wider range of colours.

Emerald green commonly recurs throughout the works. A highly toxic vivid green, invented in the 19th century, it was still commercially available until the early 1960s. Many historical pigments are toxic, based on arsenic, mercury and lead.

Today we are increasingly aware of the health and safety issues related to work of art, but this was not always the case. Emerald green belongs to a group of copper acetoarsenate pigments that were extensively used for many household goods including furniture and wallpapers. A similar pigment, Scheele’s green, was used on the wallpaper in Napoleon’s apartments on St Helena and has been suggested as the cause of his death. Large amounts of arsenic (100 times that of a living person) were found on Napoleon’s hair and scalp after he had died. While poisoning theories still abound, it has been confirmed through other medical cases from the period that arsenic dust and fumes would be circulated in damp Victorian rooms sealed tight against the drafts that were thought to promote ill health.

Anonymous text. “Prints, pigments & poison,” on the National Gallery of Australia website Nov 18, 2021 [Online] Cited 30/08/2022

 

Ethel Spowers (Australian, 1890-1947) 'Children's Hoops' 1935

 

Ethel Spowers (Australian, 1890-1947)
Children’s Hoops
1935
Melbourne
Linocut, printed in colour inks, from five blocks
National Gallery of Australia, Kamberri/Canberra

 

Ethel Spowers (Australian, 1890-1947) 'Bank holiday' 1935 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Bank holiday (installation view)
1935
Melbourne
Linocut, printed in colour inks, from six blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1976
Photo: Marcus Bunyan

 

Ethel Spowers (Australian, 1890-1947) 'Bank holiday' 1935

 

Ethel Spowers (Australian, 1890-1947)
Bank holiday
1935
National Gallery of Australia, Kamberri/Canberra
Purchased 1976

 

Ethel Spowers (Australian, 1890-1947) 'The Junior Red Cross works in every land' 1941 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
The Junior Red Cross works in every land (installation view)
Linocut, printed in colour, from six blocks
Reproduced in Joan and Daryl Lindsay
The story of the Red Cross Melbourne, 1941
National Gallery of Australia Research Library
Photo: Marcus Bunyan

 

 

Powers made one final linocut print around 1941 for inclusion in a published history of the Australian Red Cross Society compiled by Joan and Daryl Lindsay. The Spowers family had a long philanthropic connection with this cause, and Eveline Syme became the first chairperson of the Red Cross Society Picture Library. Reproduced as a lithographic illustration, the long narrow composition is based on the picnicking families in Spowers’ earlier linocut Bank holiday 1935 (see above).

Wall text

 

Ethel Spowers (Australian, 1890-1947) 'Cuthbert and the dogs' c. 1947 (installation view)

 

Ethel Spowers (Australian, 1890-1947)
Cuthbert and the dogs (installation view)
c. 1947
Digest Juvenile Productions, Melbourne
National Gallery of Australia Research Library
Photo: Marcus Bunyan

 

 

After being diagnosed with breast cancer in the mid-1930s, Spowers stopped printmaking and began a series of short stories for children. During the last decade of her life, she wrote and illustrated at least seven books. Their charm drew on stories the Spowers siblings wrote together as children, yet these were cautionary tales in which youthful characters were often reformed by the results of their actions. Of these, only Cuthbert and the dogs was published.

Wall text

 

Grosvenor School of Modern Art

This progressive private school was established in 1925 by Scottish wood-engraver Iain Macnab at 33 Warwick Square in Pimlico. Formerly the London studio and house of Scottish portraitist James Rannie Swinton, the ground-floor interior was repurposed into studios for tuition in drawing, painting and composition, with the basement set up for lithography, etching and block printing. With no entrance examinations or fixed terms, students could attend classes at any time by purchasing a book of fifteen tickets, with each ticket permitting entry to a two-hour session.

Merchant hand-selected a small team of similarly anti-academic staff, including Claude Flight. For five years Flight taught weekly afternoon classes on colour linocuts. He emphasised that art must capture the vitality of the machine age and taught his students a new way of seeing that analysed the activities of urban life and condensed these into dynamic compositions bursting with rhythm and energy.

 

Frank Weitzel (New Zealand, 1905 - England 1932) 'Slum street' c. 1929 (installation view)

 

Frank Weitzel (New Zealand, 1905 – England 1932)
Slum street (installation view)
c. 1929
Sydney
Linocut, printed in black ink, from one block
National Gallery of Australia, Kamberri/Canberra
Purchased 1993
Photo: Marcus Bunyan

 

 

The son of German immigrants, Weitzel has a volatile upbringing in Aotearoa New Zealand where his father interned as an enemy alien. At the age of 16, Wentzel emigrated with his mother to the united States of America, where he studied sculpture in California. After travels through Europe, he relocated to Sydney in 1928 were he produced a series of linocuts in response to the city and was invited by Dorrit Black to exhibit with the Group of Seven. Black arranged for Wentzel to meet Claude Flight in London in 1930; Flight included his prints in the annual linocut exhibitions at Redfern Gallery in 1930 and 1931.

Wall text

 

Frank Weitzel was known mainly as a sculptor but in his studio over Grubb’s butcher shop at Circular Quay, he worked in the tradition of the artist-craftsman, producing linocut batik shawls and wall-hangings, lamp shades, book-ends etc. He also played violin in the Conservatorium Orchestra and designed a modern room (with Henry Pynor) at the Burdekin House Exhibition in 1929. In 1931, looking for work in London he sought out David Garnett, a publisher and member of the Bloomsbury Group of artist-craftsman. While Garnett was not interested in Weitzel’s drawings for publication, he became an admirer of his sculpture and invited Weitzel to care-take his property ‘Hilton Hall’ and commissioned him to do heads of children. Weitzel came to be praised also by Jacob Epstein, Roger Fry, Paul Nash and Duncan Grant. Garnett describes Weitzel in his autobiography as “small, thin, with frizzy hair which stood piled up on his head, blue-eyed, with a beaky nose. I guessed he was not eating enough… He was proletarian, rather helpless, very eager about art and also about communism”. At around this time Weitzel wrote to Colin Simpson back in Australia, “Now I am working on a show of my own which is being arranged for me by some terrific money bags”. The exhibition was never held. Weitzel contracted tetanus apparently from minerals which got under his finger nails while digging for clay for his sculptures. He died on the 22 February 1932 at the age of 26. A posthumous exhibition was organised by Dorrit Black at the Modern Art Centre, 56 Margaret Street, Sydney, on the 7 June 1933- opened by another supporter of modernism, the artist John D. Moore. The works had been brought back to Sydney by Weitzel’s sister Mary, who had travelled to England to collect them. This small show (41 works) included illustrations to a poem by Weitzel, poster designs for the Empire Marketing Board, Underground Railways, Shell Motor Spirit, Barclay’s Lager and the Predential Insurance Company, as well as sculpture, drawings and linocuts which had been exhibited with Grosvenor School artists in London.

Anonymous text. “Frank Weitzel (1905-1932),” on the Christie’s website Nd [Online] Cited 28/08/2022

 

Lill Tschudi (Swiss, 1911-2004) 'Fixing the wires' 1932 (installation view)

 

Lill Tschudi (Swiss, 1911-2004)
Fixing the wires (installation view)
1932
London
Linocut, printed in colour inks, from two blocks
National Gallery of Australia, Kamberri/Canberra
Gift of the artist 1990
Photo: Marcus Bunyan

 

 

In December 1929, at the age of 18, Tschudi enrolled at the Grosvenor School of Modern Art where she studied under Claude Flight for six months. She also studied in Paris with progressive teachers including André Lhote. Flight was a lifelong supporter of Tschudi and using Fixing the wires as an empale in his 1934 textbook on linocut techniques nothing that ‘the most important point to consider … is the arrangement whereby each colour block is considered as a space-filling whole, as well as part of the final composition made up of the superimposition of all the colour harmonies’.

Wall text

 

Lill Tschudi (Swiss, 1911-2004) 'Fixing the wires' 1932

 

Lill Tschudi (Swiss, 1911-2004)
Fixing the wires
1932
London
Linocut, printed in colour inks, from two blocks
National Gallery of Australia, Kamberri/Canberra
Gift of the artist 1990

 

Claude Flight (English, 1881-1955) 'Brooklands' c. 1929 (installation view)

 

Claude Flight (English, 1881-1955)
Brooklands (installation view)
c. 1929
London
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978
Photo: Marcus Bunyan

 

 

At the Grosvenor School of Modern Art in London, Claude Flight taught his students the art of the modern colour linocut. He emphasised the importance of composition, building his images of urban life out of simplified form and pattern. Flight’s own practice drew on an exciting mix of avant-garde ideas: from the abstraction of British Vorticism to the dynamism of Italian Futurism to the bold geometric energy of Art Deco and the Arts and Crafts Movement’s emphasis on the handmade.

Wall text

 

Claude Flight (English, 1881-1955) 'Brooklands' c. 1929

 

Claude Flight (English, 1881-1955)
Brooklands
c. 1929
London
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978

 

Sybil Andrews (English-Canadian, 1898-1992) 'Speedway' 1934 (installation view)

 

Sybil Andrews (English-Canadian, 1898-1992)
Speedway (installation view)
1934
London
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978
Photo: Marcus Bunyan

 

 

Andrews first studied art by correspondence while working as a welder at an airbase in bristol during the First World War. After meeting her mentor Cyril Power in Bury St Edmonds, they moved to London to study art before Andrews joined the Grosvenor School of Modern Art as a school secretary. Like Flight, Andrews and Power believed that art should reflect the spirit of the time. Andrews showed her work in joint exhibitions with Power at Redfern Gallery, and often explored the them of manual about. She left London in 1938 and emigrated to Canada with her husband Walter Morgan in 1947, where she eventually established a practice as artist and teacher.

Wall text

 

Sybil Andrews (English-Canadian, 1898-1992) 'Speedway' 1934

 

Sybil Andrews (English-Canadian, 1898-1992)
Speedway
1934
London
Linocut, printed in colour inks, from four blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978

 

Cyril E Power (English, 1872-1951) 'Skaters' c. 1932 and Sybil Andrews (English-Canadian, 1898-1992) 'The winch' 1930 (installation view)

 

Cyril E Power (English, 1872-1951)
Skaters (installation view)
c. 1932
London
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978

Sybil Andrews (English-Canadian, 1898-1992)
The winch (installation view)
1930
London
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978
Photo: Marcus Bunyan

 

Sybil Andrews (English-Canadian, 1898-1992) 'The winch' 1930 (installation view)

 

Sybil Andrews (English-Canadian, 1898-1992)
The winch (installation view)
1930
London
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978
Photo: Marcus Bunyan

 

Sybil Andrews (English-Canadian, 1898-1992) 'The winch' 1930

 

Sybil Andrews (English-Canadian, 1898-1992)
The winch
1930
London
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Purchased 1978

 

George Bell (Australian, 1876-1966) 'The departure' 1931 (installation view)

 

George Bell (Australian, 1876-1966)
The departure (installation view)
1931
Melbourne
Linocut, printed in colour inks, from three blocks
National Gallery of Australia, Kamberri/Canberra
Gift of Mrs B Niven 1988
Photo: Marcus Bunyan

 

 

Geelong Art Gallery
Little Malop Street
Geelong, Victoria
Australia 3220
Phone: +61 3 5229 3645

Opening hours:
Daily 10am – 5pm

Geelong Art Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

18
Sep
22

Photographs: Marcus Bunyan. ‘The sun does not move’ 2017-2022

September 2022

 

Marcus Bunyan (Australian, b. 1958) 'Women in orange' London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Women in orange
London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

This posting offers a selection of photographs from my new ninety-eight image sequence The sun does not move (2017-2022). To see the whole extended conversation please visit my website. The text below illuminates the rationale for the work…

 

Two students were arguing about a flag flapping in the wind. “It’s the wind that is really moving,” stated the first one. “No, it is the flag that is moving,” contended the second. A Zen master, who happened to be walking by, overheard the debate and interrupted them. “Neither the flag nor the wind is moving,” he said, “It is MIND that moves.”

 

The photographs in this sequence meditate on the idea that it is the mind of the viewer that constructs the spaces and meanings of these images. It is MIND that moves. The title of this sequence the sun does not move is attributed to Italian polymath Galileo Galilei.

The photographs are not a contemporary dissection of some archaic concept or hidden historical moment. They just are. Why do I make them? Because I feel impelled to be creative, to explore the spiritual in liminal spaces that I find across the earth. Ultimately, I make them for myself, to illuminate the journey that this soul is on.

With wonder and affection and empathy and feeling for the spaces placed before it. As clear as light is for the ‘mind’s eye’.

With thankx to the few “fellow travellers” for their advice and friendship.

Marcus

 

98 images
© Marcus Bunyan

VIEW THE WHOLE SEQUENCE ON MY WEBSITE (preferably on a desktop computer)

 

 

“To try to see more and better is not a matter of whim or curiosity or self-indulgence. To see or to perish is the very condition laid upon everything that makes up the universe, by reason of the mysterious gift of existence.”

.
Teilhard de Chardin, Seeing 1947

 

Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.

 

 

Marcus Bunyan (Australian, b. 1958) 'Brick pattern' London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Brick pattern
London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Sliver' France 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Sliver
France 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Bus depot' South London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Bus depot
South London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

 

Marcus Bunyan (Australian, b. 1958) 'Gare du Nord' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Gare du Nord
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

Marcus Bunyan (Australian, b. 1958) 'Blue / White' London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Blue/White
London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Tomb effigy' V&A Museum, London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Tomb effigy
V&A Museum, London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Float' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Float
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

 

Marcus Bunyan (Australian, b. 1958) 'Scar' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Scar
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Circle, two white lines, four pieces of white and a trail of dark oil' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Circle, two white lines, four pieces of white and a trail of dark oil
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

Marcus Bunyan (Australian, b. 1958) 'Couple in light' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Couple in light
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'The crossing' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
The crossing
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

Marcus Bunyan (Australian, b. 1958) 'Equilibrium' Tuileries, Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Equilibrium
Tuileries, Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Leaving' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Leaving
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

Marcus Bunyan (Australian, b. 1958) 'The sun does not move, it's your mind that moves...' France 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
The sun does not move, it’s your mind that moves…
France 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Crystallize' France 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Crystallize
France 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Hand in hand' France 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Hand in hand
France 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'We might be otherwise – we might be all' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
We might be otherwise – we might be all
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Every kind of pleasure' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Every kind of pleasure
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Eiffel Tower II' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Eiffel Tower II
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

Marcus Bunyan (Australian, b. 1958) 'Profusion' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Profusion
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

Marcus Bunyan (Australian, b. 1958) 'Ancient and modern' V&A Museum, London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Ancient and modern
V&A Museum, London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Two black holes' V&A Museum, London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Two black holes
V&A Museum, London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'The Wheel of Time' V&A Museum, London 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
The Wheel of Time
V&A Museum, London 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

 

Marcus Bunyan (Australian, b. 1958) 'Where is the love, beauty, and truth we seek (Shelley)' France 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Where is the love, beauty, and truth we seek (Shelley)
France 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'Modernisation' Montparnasse, Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
Modernisation
Montparnasse, Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

Marcus Bunyan (Australian, b. 1958) 'The light whose smile kindles the universe' Palace of Fontainebleau, France 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
The light whose smile kindles the universe
Palace of Fontainebleau, France 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

 

Marcus Bunyan (Australian, b. 1958) 'The unknown thought I' Paris 2017/2022

 

Marcus Bunyan (Australian, b. 1958)
The unknown thought I
Paris 2017
From the series The sun does not move 2017-2022
Digital colour photograph

 

 

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

20
Mar
22

Exhibition: ‘Birdlike’ by Anne Ferran at Sutton Gallery, Melbourne

Exhibition dates: 5th March – 2nd April 2022

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Ground dweller 4, 2020-2021 (see below)
© the artist and Sutton Gallery

 

 

A quick text today as I am very sick with bronchitis and not feeling very well.

I have always liked Ferran’s performative creations starting with her body of work titled Box of Birds (2013) followed by Align (2015); Flying Colour (2016); Open Book (2018); White Against Red (2018); and now her most recent series, Birdlike (2020-2022)

While conceptually based (as with much contemporary photography), her bodies of work have an elemental quality to them that keeps them grounded and present even as they reference a historical past, a “felt” (pardon the pun since Ferran uses felt material) response to a present day conundrum.

The new work Birdlike “continues the artist’s practice of photographing female performers as they improvise with lengths of coloured felt … [which] allows for complex and nuanced interpretations” in response to the initial proposition, in this case Ferran’s wish “to summon the return of a small ground-dwelling bird, the Plains wanderer, Pedionomus torquatus, to a place that it vanished from long ago.”

These birds “are surprisingly distinct from any other species on the planet, they are the last family on their evolutionary line,” the only representative of family Pedionomidae and genus Pedionomus. They are threatened by agricultural practices such as cropping and grazing, and so they are at risk of habitat loss, as well as other threats such as flooding, feral predators, pesticide use and their small population size. With their ground-nesting habits, poor flying ability, and the tendency to run rather than fly from predators, the birds become easy prey for the fox. Now listed as a critically endangered species the bird makes a haunting return, a form of speculative reappearance as Ferran puts it, to a place in which it was once common – that of Wiradjuri country, near Narrandera NSW.

These beautiful, conceptual, improvised photographs are not only about the here and now, but are about present and past (a longing for a quixotic past?), about presence and absence… and about death and loss. Every thing contemporary photography is good at – that is, unpicking the threads of history and reassembling them – is here grounded “in the flatness of the landscape, the vastness of the sky and the colours of the lengths of felt the performer is manipulating.” In other words, grounded in light, colour and the red soil of the Australian landscape these re-imagined birds are captured in a fantastical performance / sublime dance (of death).

I love these photographs. They possess a sublime mystery that makes me stop and question how little the human race has learnt and how much we have lost. With species extinction, climate change and ocean pollution ongoing, this is only the beginning of the desecration of Mother Earth.

Omnia mutantur nos et mutamur in illis (all things change, and we change with them).

But not necessarily for the better.

Dr Marcus Bunyan

.
Many thankx to Sutton Gallery for allowing me to publish the photographs in the posting. All images © the artist and Sutton Gallery. Please click on the photographs for a larger version of the image.

 

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Ground dweller 4, 2020-2021 (see below)
© the artist and Sutton Gallery

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Plains wanderer 1; and at right, Plains wanderer 3 both 2020-2021 (see below)
© the artist and Sutton Gallery

 

Installation view of the exhibition 'Birdlike' by Anne Ferran at Sutton Gallery, Melbourne

 

Installation view of the exhibition Birdlike by Anne Ferran at Sutton Gallery, Melbourne showing at left, Field haunter 1, Field haunter 3, and Field haunter 2 all 2020-2021 (see below); and at right, Hiding 1 2020-2021 (see below)
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Field haunter 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Field haunter 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Field haunter 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Field haunter 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Field haunter 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Field haunter 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

 

In Birdlike I aimed to summon the return of a small ground-dwelling bird, the Plains wanderer, Pedionomus torquatus, to a place that it vanished from long ago. Once common over vast areas of southern NSW and Victoria, its existence is now threatened, and birdwatchers like me will go to great lengths to see it just once in their lives. In these photographs, made on Wiradjuri country, near Narrandera NSW, the Plains wanderer makes a form of speculative reappearance, via signs as indirect as the flatness of the landscape, the vastness of the sky and the colours of the lengths of felt the performer is manipulating.

I came to this way of working a few years ago. Its two key components are my collaboration with a performer – here it is Kirsten Packham – and her improvisations with lengths of dyed and painted felt. I choose the performer carefully, as so much depends on her sensitivity to her surroundings and her ability to transmit it through her physical body. With its inherent density, softness and weight, the felt can amplify and enhance her movements and gestures, while exerting a strong presence of its own. I never know what will emerge from these sessions, only that it will be something new, arising out of that moment, that performance and that situation.

Until now I have preferred to work in the familiar environment of a photographic studio. Decamping to the landscape introduced many small and some not-so-small considerations: the texture of the ground underfoot, the ever-changing effects of early morning or late afternoon light, whether it was hot, cold or blowing a gale at any one moment. Small trees crept into the frame and started acting like performers themselves. As the photographs began to accumulate, I thought I could see an out-of-place, almost alien quality emerging. This was unexpected, but on reflection it seems consistent with the displacements that have already happened in this place, as well as with those others that may come in the future.

~ Anne Ferran, 2022

 

Each image is available in two sizes: 65 x 50cm Ed. of 5 + 2APs and 144 x 104cm Ed. of 3 + 2APs

Performer: Kirsten Packham
Lighting: Frances Mocnik
Assistant: Brittany Hefren

This project is supported by the NSW Government through Create NSW, and the Cad Factory, Narrandera.

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Ground dweller 4' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Ground dweller 4
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Hiding 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Hiding 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Hiding 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Hiding 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Hiding 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Hiding 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Plains wanderer 1' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Plains wanderer 1
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Plains wanderer 2' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Plains wanderer 2
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

Anne Ferran (Australian, b. 1949) 'Plains wanderer 3' 2020-2021

 

Anne Ferran (Australian, b. 1949)
Plains wanderer 3
2020-2021
Pigment print on cotton rag paper
© the artist and Sutton Gallery

 

 

Sutton Gallery
254 Brunswick Street
Fitzroy 3065
Victoria, Australia
Phone: +61 3 9416 0727

Gallery hours:
Wednesday – Saturday
11am – 5pm, or by appointment

Sutton Gallery website

Anne Ferran website

LIKE ART BLART ON FACEBOOK

Back to top

13
Feb
22

Review: ‘Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey’ at The Ian Potter Centre: NGV Australia, Federation Square, Melbourne

Exhibition dates: 30th October 2021 – 20th February 2022

 

Greg Weight. 'Rosalie Gascoigne' (detail) 1993 and Jules Boag. 'Portrait of Lorraine Connelly-Northey' (detail) Nd

 

Image left: Greg Weight
Rosalie Gascoigne (detail)
1993
Gelatin silver photograph on paper
Image: 45.5 x 35.6cm
Sheet: 50.4 x 40.4cm
National Portrait Gallery, Australia
Gift of Patrick Corrigan AM 2004. Donated through the Australian Government’s Cultural Gifts Program.
© Gregory Weight/Copyright Agency, 2021

Image right: Jules Boag
Portrait of Lorraine Connelly-Northey (detail)
Courtesy of Jules Boag
© Jules Boag

 

 

Synergy. Now’s there’s an interesting word. It means “the interaction or cooperation of two or more organisations, substances, or other agents to produce a combined effect greater than the sum of their separate effects.” It derives from mid 19th century: from Greek sunergos ‘working together’, from sun- ‘together’ + ergon ‘work’. Thus, this glorious exhibition brings together two artists metaphorically “working together” under the Australian sun… even as they are separated by culture, location, time and space.

Their work comes together in a confluence of ideas of approximately equal width – one grounded in stories of family and Country thousands of years old, the artist investigating post-colonial settlement and the industrial world and interpreting Australian Indigenous objects of ritual and culture; the other not so much grounded but playing with Western ideas of pattern and randomness, belonging, and the metaphysical space of the landscape of the Monaro, in the southwest of New South Wales. Both points of view are equally valid and have important things to say about our various relationships to the land (both Indigenous and colonial) and the “creation” of a contemporary Australian national identity.

Both artists use found objects in their work, but as Russell-Cook points out, “I think that what unites the two artists is the shared materials they use, but not a ‘shared-use of materials.’ They are both fascinated by the artistic possibilities of found objects, but they use those materials to tell contrasting stories.” Connelly-Northey uses her experience of living on Country and her gleaning of discarded objects in Country to gather up the threads of her multiple heritages and Aboriginal custodianship of the land to picture – through the merging of organic and inorganic forms – the disenfranchisement of her people but also to celebrate their deep roots in Country. Gascoigne on the other hand is the more ethereal of the two artists, concerned as she is with light, land, spirit of place and the rightness of materials being used. Hers is a very structured and formal art practice grounded in her training in the Japanese art of ikebana and her understanding of Minimalism. Sympathetically, through their individual creativity both artists transmute (to change in form, nature, or substance) the reality of the materials they work with, the raw material of experience transmuted into stories. As Rozentals and Russell-Cook observe, “Both Connelly-Northey and Gascoigne’s work is defined by, and yet transcends, its sense of materiality.”

Two things jar slightly. Connelly-Northey is ‘a bit anxious’ that her Indigenous originality won’t be recognised and that “I’ve worked too hard for people to think I borrowed it all from Rosalie. Our use of corrugated iron is the only thing we have in common.”

Connelly-Northey can have no fear that her Indigenous originality won’t be recognised because every pore of her strong work speaks to her cultural being. Her spiky, brittly astringent, barbed and feathered works take you to Country, posing the viewer uncomfortable questions about “soft” assertions of history and the hard reality of contemporary Indigenous life: metal as string, desecration of sacred sights, barbed wire handles, “hunters and gatherers whose remains have been upturned by settled Australian societies.” She weaves her stories well.

If the second statement has not been taken out of context, it shows a heap of unnecessary defensive aggression by Connelly-Northey towards Gascoigne’s work. It’s a silly, uninformed statement which hints at a lack of confidence in the strength of her own work. Patently, their use of corrugated iron is not the only thing they have in common.

Both speak towards a love of the Australian land whether from an ancient Aboriginal custodianship perspective or from a Western colonial perspective. Both use scavenging, gathering and gleaning in order to recycle the refuse of society in their art making, Connelly-Northey using weaving to bring together that which is disparate; Gascoigne assembling her formal compositions with an attention to order and randomness. Both artists love to move through the space and time of the land, exploring its idiosyncrasies, “disassociating objects from their original function via a system of obsessive collecting and gathering, while simultaneously reflecting their individual experiences of being immersed in the bush environment.” As Rozentals and Russell-Cook comment, “Despite their careers having been separated by time, and coming from vastly different backgrounds, in both artists we see a singular vision that is immediately recognisable, and unmistakably them. And yet there is a sympathetic connection between their practices that is undeniable.”

Conjoined by more than corrugated iron, more than land, air and clan, their common union is the journey of two creative souls on that golden path of life and the connection of those souls to the cosmos.

Dr Marcus Bunyan

.
All of the images unless otherwise stated are by Marcus Bunyan. © Marcus Bunyan, the artists and the National Gallery of Victoria. Please click on the photographs for a larger version of the image.

 

 

“Although they are often compared, Gascoigne and Connelly-Northey are separated conceptually and chronologically. For a start, despite being two Australian women artists working with landscape, they never met. This fact is less surprising when one remembers that Connelly-Northey’s practice only matured towards the later stages of Gascoigne’s life. Gascoigne came to prominence late and rapidly, with her first exhibition in 1974, when she was fifty-seven years old, and it was only eight years later that she represented Australia at the Venice Biennale. Connelly-Northey started exhibiting seriously in the mid-nineties, shortly before Gascoigne passed away in 1999. However, Connelly-Northey has herself commented on a nuanced relationship to the historical comparison with Gascoigne, pointing out in a recent conversation with Jeremy Eccles that “I’ve worked too hard for people to think I borrowed it all from Rosalie. Our use of corrugated iron is the only thing we have in common.” In some ways, then, the fact they never met may have been fortuitous, with both artists driven to probe their subject matter in distinct and complete ways. …

Surrounding built and natural environments are a recurring prompt for Connelly-Northey, who often merges organic and inorganic forms. She investigates the intricate dilemmas and complexities that arise when two cultures meet. Co-curator Myles Russell-Cook explains that the artist “is using her work to explore the connection between her multiple heritages, as well as her experience living on Country. Take her work On Country, 2017; in that installation, Connelly-Northey explores the relationship between the twin cities of Albury and Wodonga, depicting the river a living being, which she imagines as a snake repurposed out of chicken wire and rusted and industrial scrap metal. It’s a dioramic representation of the landscape, but it is also so embedded with references to Aboriginal custodianship of Country.” As a result, Russell-Cook argues, Connelly-Northey proposes “a really different way of being in Australian landscape.”

Beyond these conceptual and chronological differences, however, Russell-Cook points out that “I think that what unites the two artists is the shared materials they use, but not a ‘shared-use of materials.’ They are both fascinated by the artistic possibilities of found objects, but they use those materials to tell contrasting stories.” As Rozentals notes, for Gascoigne, “the objects had to be just right – what she collected, for instance, with shells. There could be no cracks and they had to be of a particular colour and a particular shine; she would collect the feathers of different species of birds from particular locations.” For Russell-Cook, “At the heart of what Connelly-Northey does, is the act of cleaning up Country: going out and collecting up bits of discarded and refuse machinery, and then working with that to create customary forms. She makes a lot of possum-skin cloaks, narrbong-galang, which are a type of string bag, as well as koolimans (coolamons), lap-laps, and other types of cultural objects … she repurposes them to create a juxtaposition between cultural memories.”

.
Extract from Rose Vickers. “Found and Gathered: Lorraine Connelly-Northey and Rosalie Gascoigne,” in Artist Profile, Issue 57, 2021 [Online] Cited 01/02/2022

 

 

Installation view of the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Installation view of the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photo: Tom Ross NGV

 

'Found and Gathered' title wall text

 

Wall text

 

Entrance to the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Entrance to the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Lap Lap' (various numbers) 2011 (installation view)

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Lap Lap' (various numbers) 2011 (installation view)

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Lap Lap' (various numbers) 2011 (installation view)

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Lap Lap' (various numbers) 2011 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Lap Lap (various numbers) (installation views)
2011
Mixed media
Murray Art Museum Albury, commissioned 2011
Photos: Marcus Bunyan

 

 

Animal skins and woven plant fibres are preferred natural resources for making cloaks, belts, skirts and lap laps. Worn by both males and females, lap laps were created for a simple covering of the groin. Also considered a body adornment, the wearing of a lap lap has different significance between Nations. Connelly-Northey constructed these lap laps from hard and harsh materials, such as rusted industrial objects including an axe head, a cut-down rabbit trap, barbed fencing wire along with copper sheeting. Metaphorically, Connelly-Northey’s lap laps both expose and draw attention to the difficult and ‘barbed’ sexual relations thats existed between Aboriginal women and settlers, post-European arrival.

 

'Found and Gathered' wall text

 

Wall text

 

Installation view of Rosalie Gascoigne's 'Step through' (1977 - c. 1979-1980) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

Installation view of Rosalie Gascoigne's 'Step through' (1977 - c. 1979-1980) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Installation view of Rosalie Gascoigne’s Step through (1977 – c. 1979-1980) at the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photos: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Step through' 1977 - c. 1979-1980 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Step through (installation view)
1977 – c. 1979-1980
Linoleum on plywood on wood
National Gallery of Australia, Canberra
Photo: Marcus Bunyan

 

 

In 1977, Rosalie Gascoigne commenced making sculptures out of discarded linoleum, which she sourced primarily from rubbish dumps. Step through features torn pieces of floral linoleum glued to plywood which are mounted on wooden blocks, and she used a jigsaw to cut around the shapes. Although linoleum is associated with domestic interiors, for Gascoigne it was about outdoor spaces. This work references untidy vacant blocks in the city, which one might ‘step-through’ as a short cut. Gascoigne’s floor-based works are intended to be experienced from all angles, and the arrangement of the blocks at different heights creates a rhythm, drawing the eyes to wander up and across the installation.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Smoko' 1984 (installation view)

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Smoko' 1984 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Smoko (installation views)
1984
Weathered wood, dried grass (possibly African lovegrass, Eragrostis curvula)
Private collection, Tasmania
Photos: Marcus Bunyan

 

Installation view of Rosalie Gascoigne's 'Pieces to walk around' (1981, foreground) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

Installation view of Rosalie Gascoigne's 'Pieces to walk around' (1981, foreground) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Installation views of Rosalie Gascoigne’s Pieces to walk around (1981, foreground) at the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photos: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Pieces to walk around' 1981 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Pieces to walk around (installation view detail)
1981
Saffron thistle sticks (Carthamus lanatus)
Museum of Contemporary Art, Sydney
Photo: Marcus Bunyan

 

 

‘This is a piece for walking around and contemplating. It is about being in the country with its shifting light and shades of grey, its casualness and it prodigality. The viewer’s response to the landscape may differ from mine, but I hope this picture will convey some sense of the countryside that produced it: and that an extra turn or two around the work will induce in the viewer the liberating feeling of being in the open country.’ ~ Rosalie Gascoigne, 1981

 

Piece to Walk Around is a microcosm of the landscape of the Monaro, in the southwest of New South Wales, where Rosalie Gascoigne lived from 1943. This environment provided the experiences and the materials that shaped her work, found on her journeys through it. Piece to Walk Around refers directly to the experience of moving through the Australian landscape, titled to draw attention to the changing visual effects as one circles the work and the shifting play of light on the natural material.

Comprised of a patchwork of bundles of saffron thistle stalks arranged in 20 squares lying on the floor in alternating directions, it resembles the undulating countryside, the ordering of agriculture and industry, and the mottled effects of light and shadow upon it. The work conveys a sense of the infinite expansiveness and liberation experienced in the country, as manifested in the grid’s open-ended structure to which additional bundles of thistles could theoretically be added or subtracted.

Gascoigne’s work from the early-1980s reveal a sophisticated aesthetic – an engagement with Minimalism’s orderliness and pre-occupation with the grid, and an almost Japanese mixture of formal composition and attention to nature. It was this sense of ‘order with randomness’ which Gascoigne recognised as an essential feature of the Monaro-Canberra region, and which resonates in the ‘careful-careless’ effect of this assemblage. Created only seven years after her first solo show in 1974, this work has a remarkable maturity and balance, achieved through a lifetime of looking at the landscape.

Anonymous text from the Museum of Contemporary Art Australia website Nd [Online] Cited 01/02/2022

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Takeover bid' 1981 (installation view)

 

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Takeover bid (installation view)
1981
Found window frames, thistle stems
Heide Museum of Modern Art, Melbourne
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Takeover bid' 1981 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Takeover bid (installation view detail)
1981
Found window frames, thistle stems
Heide Museum of Modern Art, Melbourne
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Balance' 1984 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Balance (installation view)
1984
Weathered plywood
Collection of Justin Miller, Sydney
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Balance' 1984 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Balance (installation view detail)
1984
Weathered plywood
Collection of Justin Miller, Sydney
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Graven image' 1982 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Graven image (installation view)
1982
Weathered wood and plywood
Private collection, Canberra
Photo: Marcus Bunyan

 

 

Rosalie Gascoigne perceived wood as being distinctly different to the manufactured materials she incorporated in her art, such as tin, aluminium and iron. Wood, like the shells, dried grasses and plants she also worked with across her career, came from nature. Gascoigne gathered wood that had been weathered, including window frames and fence palings, preferring pieces that had been bleached by the sun until they were almost grey in colour. Gascoigne would use wood either as the main component of a composition, or as the backing from another work.

 

Installation view of Rosalie Gascoigne's 'Feathered Fence' (1978-1979, foreground) with 'Winter paddock' (1984, back left) and 'Afternoon' (1996, back right) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Installation view of Rosalie Gascoigne’s Feathered Fence (1978-1979, foreground) with Winter paddock (1984, back left) and Afternoon (1996, back right) at the exhibition ‘Found and Gathered’ at The Ian Potter Centre NGV Australia
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Feathered fence' 1978-1979 (installation view detail)

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Feathered fence' 1978-1979 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Feathered fence (installation view details)
1978-1979
Swan (Cygnus atratus) feathers, galvanised wire mesh, metal win nuts, synthetic polymer paint on wood
National Gallery of Australia, Canberra
Gift of the artist, 1994
Photos: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Afternoon' 1996 (installation view)

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Afternoon' 1996 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Afternoon (installation views)
1996
Painted weathered plywood on backing boards
TarraWarra Museum of Art, Healesville
Gift of Eva Besen AO and Marc Besen AC
Photos: Marcus Bunyan

 

 

One of Rosalie Gascoigne’s late works, Afternoon, created for the exhibition In Place (Out of Time), held at the Museum of Modern Art in Oxford, comprises twenty-seven panels of weathered plywood organised in a grid-like configuration. Looking out from her vantage point at the top of Mount Stromlo across the countryside, Gascoigne was in awe of the view, the vast sky, and te sense of emptiness. The sections of lights applied white paint and areas of exposed timer of Afternoon are suggestive of passing clouds, and communicates her experiences and enduring recollections of being in the landscape.

 

As perhaps the most archetypal form of modernist abstraction, the grid has been employed as a formal, compositional device in countless artworks over the past century.

In ‘Grids’ (1979), Rosalind Krauss’ seminal essay on the subject, she describes this structural device as: ‘[f]lattened, geometricized, ordered, it is antinatural, antimimetic, antireal. It is what art looks like when it turns its back on nature’.(1) However, for Rosalie Gascoigne, the grid was employed as a compositional method in order to generate highly personal and experiential evocations of natural phenomena in ways which transcended the more rigid, impersonal qualities associated with its geometry.

In one of her late works entitled Afternoon (1996), Gascoigne assembled 27 individual panels of found painted timber in roughly similar sizes in a grid-like formation. At a surface level the serial repetition of components arranged and balanced according to vertical and horizontal axes corresponds to a reductive Minimalist sensibility. However, it is the heavily weathered timber with its faded white paint which infuses the work with a resonant and suggestive force. As the artist traversed the open countryside she deliberately sought out materials that she felt were ‘invested with the spirit of the place’ and capable of recalling ‘the feeling of an actual moment in the landscape’.(2) In this light, the vital materiality of the reclaimed painted timber is not only inscribed with the effects of its prolonged exposure to the elements, but it also speaks directly to Gascoigne’s deep and abiding memories of her experiences in the landscape. In Afternoon, the richly allusive quality of the individual boards is suggestive of passing clouds, evoking the ephemeral and transitory phenomena of nature in continuous metamorphosis. Contemplated as a unified pictorial whole, this humble assemblage of discarded and deteriorating matter assumes a metaphysical dimension bordering on the ineffable, one which resoundingly accords with the artist’s desire to ‘capture the “nothingness” of the countryside, those wide open spaces … the great Unsaid … the silence that often only visual beauty transcends’.(3)

 

Further Information

  1. Rosalind Krauss, ‘Grids’, October, Vol. 9, Summer, 1979, p. 50.
  2. Quoted in Deborah Edwards, Rosalie Gascoigne: Material as Landscape, (exh. cat.), Sydney: Art Gallery of New South Wales, 1997, p. 8.
  3. Ibid, p. 16.

.
Anonymous text. “Rosalie Gascoigne,” on the Culture Victoria website Nd [Online] Cited 01/02/2022

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Afternoon' 1996

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Afternoon
1996
Painted weathered plywood on backing boards
TarraWarra Museum of Art, Healesville
Gift of Eva Besen AO and Marc Besen AC

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Winter paddock' 1984 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Winter paddock (installation view)
1984
Weathered and painted wood, painted plywood, silver gull (Chroicocephalus novaehollandiae) feathers
Parliament House Art Collection, Canberra
Acquired 1985
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Winter paddock' 1984 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Winter paddock (installation view detail)
1984
Weathered and painted wood, painted plywood, silver gull (Chroicocephalus novaehollandiae) feathers
Parliament House Art Collection, Canberra
Acquired 1985
Photo: Marcus Bunyan

 

 

Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey brings attention to the shared materiality at the heart of the practices of Rosalie Gascoigne (1917-1999) and Lorraine Connelly-Northey (b. 1962). Both artists are known for their transformative use of found and discarded objects to create works of art that challenge our understanding of the landscape, and Country.

New Zealand–born Rosalie Gascoigne is recognised for her textural works assembled from items that she had collected, including corrugated iron, feathers, wood and wire, as well as her distinctive wall-mounted pieces formed from retro-reflective road signs and soft-drink cases. Gascoigne moved to Mount Stromlo Observatory, a remote community on the outskirts of Canberra in 1943. Describing the area as being ‘all air, all light, all space, all understatement’, the surrounding region where Gascoigne regularly searched for materials greatly inspired her artistic practice. Her first exhibition was held in 1974 when she was 57 years old, and in 1982, Gascoigne was selected as the inaugural female artist to represent Australia at the Venice Biennale.

Lorraine Connelly-Northey was born and raised at Swan Hill in western Victoria, on the traditional lands of the Wamba Wamba people. Much of her work is inspired by her maternal Waradgerie (also known as Wiradjuri) heritage. Connelly-Northey gathers and uses materials often associated with European settlement and industrialisation, and repurposes them into sculptural works that reference traditional weaving techniques and Indigenous cultural objects. Through her work, Connelly-Northey explores the relationship between European and Indigenous ways of being and draws attention to the dynamic and resilient ways that Aboriginal people have been, and continue to be, custodians of Country.

Through a major display of more than 75 wall-based and sculptural works, Found and Gathered highlights each artist’s unique and significant place within Australian art, while also illuminating the sympathetic relationships between their works. Continuing the popular series of paired exhibitions hosted by NGV, this is the first exhibition in this series focused on the work of two women.

Held at The Ian Potter: NGV Australia, this exhibition includes works by both artists held in the NGV Collection as well as works from major public institutions and private collections around Australia.

Text from the NGV Australia website

 

'Found and Gathered' wall text

 

Wall text

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Magpie bag' 2002 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Magpie bag (installation view)
2002
From the Koolimans and String Bags series
Wire mesh, magpie feathers
27.8 × 33.5 × 10.0cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2003
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Pelican bag' 2002 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Pelican bag (installation view)
2002
From the Koolimans and String Bags series
Wire, pelican feathers
31.4 × 29.7 × 10.6cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2003
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Narrbong (String bag)' 2005 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (String bag) (installation view)
2005
Wire, wire mesh
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2005
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Narrbong (String bag)' 2005 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (String bag) (installation view)
2005
Wire mesh, feathers
26.5 × 10.5 × 11.5cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2005
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Narrbong (String bag)' 2005 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (String bag) (installation view)
2005
Wire, wire mesh, emu feathers
17.8 × 8.7 × 8.5cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2005
Photo: Marcus Bunyan

 

 

Lorraine Connelly-Northey reproduces the form of traditional cultural objects with a range of gathered materials found on the side of the road, in illegal rubbish dumps, or decaying on farms. As she explains: ‘We Aboriginal people only take what we need when we need it. I do a lot of travelling to spot something and it can take up a lot of time. The beauty is that I always work from leftovers and if I don’t use a material, I take it back. Also, in the sculpting process, I try to not alter the material too much’.

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Narrbong (String bag)' 2005 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (String bag) (installation view)
2005
Wire mesh, echidna quills
33.0 × 15.3 × 12.0cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2005
© Lorraine Connelly-Northey
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Kooliman 2' 2002 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Kooliman 2 (installation view)
2002
from the Koolimans and string bags series 2002
8.5 × 29.7 × 19.2cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2003
© Lorraine Connelly-Northey
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'String bag' 2002 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
String bag (installation view)
2002
from the Koolimans and string bags series 2002
Wire, wire mesh, feathers
23.5 × 16.4 × 8.4cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2003
© Lorraine Connelly-Northey
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Narrbong (String bag)' 2005 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (String bag) (installation view)
2005
Wire, wire mesh
30.7 × 14.4 × 4.7cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2005
© Lorraine Connelly-Northey
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Driftwood bag' 2002 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Driftwood bag (installation view)
2002
from the Koolimans and string bags series 2002
Wire, wire mesh, driftwood
15.4 × 26.5 × 7.3cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2003
© Lorraine Connelly-Northey
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Narrbong (String bag)' 2005 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (String bag) (installation view)
2005
Wire
15.9 × 22.5 × 9.4cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2005
© Lorraine Connelly-Northey
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'Kooliman 1' 2002

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Kooliman 1
2002
From the Koolimans and string bags series 2002
16.5 × 18.0 × 14.7cm
Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and patrons of Indigenous Art, 2003
© Lorraine Connelly-Northey
Photo: NGV

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962). 'Narrbong (Container)' 2005

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
Narrbong (Container)
2005
Iron, emu feathers
30.5 × 34 × 35.5cm
National Gallery of Victoria, Melbourne
Gift of Robert Cirelli, through the Australian Government’s Cultural Gifts Program, 2019
Photo: NGV

 

 

Found and Gathered

By Beckett Rozentals and Myles Russell-Cook

Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey brings to attention the work of two artists, both who are well known for their transformative use of found and discarded objects to create works of art. Lorraine Connelly-Northey is a contemporary artist and Waradgerie (Wiradjuri) woman living on Wamba Wamba Country. Rosalie Gascoigne was born in Aotearoa (New Zealand), and moved to Mount Stromlo Observatory, a remote community in the Australia Capital Territory on the lands of Ngunawal people, in 1943. Both are celebrated as two of Australia’s pioneering contemporary artists.

Gascoigne passed away in 1999 not long after Connelly-Northey first began exhibiting. They never met, and it was not until many years after first showing as an artist that Connelly-Northey became aware of Gascoigne and her work. Despite never meeting, some enduring parallels between their work are evidence of their shared love for the natural sophistication of found objects. Found and Gathered: Rosalie Gascoigne | Lorraine Connelly-Northey is the first major exhibition to unite these artists, providing a conversation between artists and across time. Together these inspiring sculptors challenge our understanding of found materials, of seeing the landscape, and of being on Country.

Rosalie Gascoigne is recognised for textural works assembled from collected items, including corrugated iron, wire, feathers and wood, as well as her distinctive wall-mounted pieces formed from split soft-drink cases and brightly coloured yellow and red road signs. Producing work primarily about the landscape, Gascoigne’s art practice stemmed from her appreciation of humble found objects and weathered materials. Gascoigne sourced objects from the Southern Tablelands and the Monaro district, unique natural environments that lie close to Canberra, describing the regions as ‘all air, all light, all space, all understatement’,1 as well as building sites, refuse and recycling centres.

Born in 1962 and raised at Swan Hill in western Victoria, on the traditional lands of the Wamba Wamba people, today Lorraine Connelly-Northey is known for gathering and utilising industrial remnants associated with European settlement. Her practice is founded in the union of her father’s Irish heritage with her mother’s Waradgerie2 heritage. Since 1990, Connelly-Northey’s strong desire to undertake traditional Aboriginal weaving has resulted in a rediscovery of her childhood bush environments of the Mallee and along the Murray River, to learn more about Aboriginal lifestyle prior to European settlement.

Gascoigne commenced classes in the Japanese art of ikebana in 1962, studying under Tokyo-trained Norman Sparnon, who taught the modern Sogetsu school. Ikebana was to significantly inform the basis of her sculptural works. Looking towards line and form over colour, Gascoigne commenced making assemblages in 1964, her first works created from discarded rural machinery. In a similar way, the materials that Connelly-Northey works with are both natural and inorganic, combining items such as discarded wire, metal and scraps of old housing, with wood, shells, feathers and other naturally occurring media. In bringing together disparate materials, Connelly-Northey also uses her work to push audiences to consider the relationships between First Peoples and settler societies, and critiques the ongoing dispossession that is experienced by Aboriginal people throughout Australia.

Gascoigne’s first solo exhibition was held at Macquarie Galleries, Canberra, in 1974 when she was fifty-seven years old. Gascoigne quickly rose to prominence as one of Australia’s most admired artists, and four years later, she was the focus of Survey 2: Rosalie Gascoigne held at the National Gallery of Victoria, Melbourrne. In 1982, Gascoigne was the first female artist to represent Australia at the Venice Biennale. Following her distinguished career, a retrospective of Gascoigne’s work opened at The Ian Potter Centre: NGV Australia in 2008.3

Exhibited at the Venice Biennale in 1982 was Gascoigne’s first iron work, Pink window, 1975, an assemblage comprising a window frame and painted corrugated galvanised iron. Gascoigne stated of the work that

The pink and the shape and everything was actually as I found it, and I didn’t do a thing to it. It was only after quite some months I realised it could sit on that window frame. At the time I was on about the emptiness of the Australian landscape, and I kept thinking of a woman stuck out there on the plains standing at her window. She looks out, what does she see? Nothing. It spoke of loneliness or something … and it got happier as time went on. The pink carries it … the pink is very beautiful.4

.
Across her career, Gascoigne gathered wood, with a preference for pieces that had been weathered, such as fence palings and apiary boxes, as well as a dozen abandoned pink primed window frames, including the one featured in Pink window.

For Connelly-Northey, gathering her materials and ‘cleaning up’ the landscape is one in the same. She describes the act of ‘gathering’, as an act of ‘taking back Country’. Caring for lands and waterways and the importance of preserving culture are two things that were instilled in her from a young age, by both her mother and father, who encouraged her to reuse discarded materials, and taught her handiwork and craft.

Many of Connelly-Northey’s sculptures take the form of classical Aboriginal cultural objects, such as narrbong-gallang (string bags), kooliman-gallang (coolamons), possum-skin cloaks and lap laps. These objects can be rendered simply, such as her rectangular sheets of metal with bent wire handles and her drawings with cable wire, or as elaborately constructed pictorial installations, which combine a variety of mixed media. Connelly-Northey uses the title A Possum Skin Cloak as a way of introducing the cultural stories that appear within her more dioramic installations. Presented for the first time in this exhibition, Connelly-Northey unites four of her most ambitious possum skin cloak installations: A Possum Skin Cloak: Three rivers country, 2010 (Museum of Contemporary Art, Sydney); A Possum Skin cloak: Blackfella road, 2011-2013 (National Gallery of Victoria, Melbourne); A Possum Skin Cloak: On Country, 2017 (Murray Art Museum Albury); and her most recent work, A Possum Skin Cloak: Hunter’s Duck Net, 2021 (courtesy of the artist).

A Possum Skin Cloak: Hunter’s Duck Net depicts a traditional duck net cut from oxidised, corrugated iron, that hangs, framed between two majestic river red gums, one a scarred ‘canoe’ tree. Traditionally, when using duck nets, Aboriginal hunters would throw a boomerang, no doubt a returning one, overhead like a predatory hawk to the startle the ducks, forcing them to fly low and into the net strung across the tributary of the river. The ducks in Connelly-Northey’s work appear animated, some still on the water’s surface, others in mid-flight before being either trapped or escaping the net. The encircling boomerang can be seen at the top of this dioramic scene giving audiences a sense of the action at the moment just before the ducks become ensnared.

Gascoigne is perhaps most well known for her unique assemblages constructed from cut up and rearranged retro-reflective road signs that flash and flicker in the light. The first signs she found were discovered face down in the mud at a roadside dump and, by chance, had already been cut up into squares. Gascoigne, taken by the way the material responded to the light, began salvaging signs no longer in use, collecting examples abandoned on the side of the road and also at road maintenance depots.

Gascoigne’s use of the boldness of the retro-reflective road signs to reveal her ongoing interest in the expressive possibilities of the grid is exemplified in Flash art, 1987. In this work, Gascoigne has explored all aspects of the featured lettering and negative space, creating whole words, as well as including sections and fragments of text. The title references the reflective quality of the material, with Gascoigne stating that: ‘It was the most blasting of the retro-reflectives I ever did, because it was eight feet by eight feet, it had road tar on it, and when it lit up, boy, it was every bushfire’.5 The gestural smears of black tar across the bright yellow surface additionally links the work back to the roads and highways where the signs were once positioned in the landscape.

The customary shapes and forms that appear and reappear throughout Connelly-Northey’s work most often reference the cultural objects of her ancestors, and the stories embedded within Country. Connelly-Northey has dedicated a great deal of her life to researching and exploring how these cultural objects, as well as knowledge associated with Aboriginal custodianship of Country can be reimagined using materials associated with colonisation.

One of Connelly-Northey’s most ambitious installations, A Possum Skin Cloak: On Country, overflows across two adjoining walls. This major diorama features a series of blue, white and brown koolimans representing the twin cities Albury and Wodonga. Albury was originally known by the Waradgerie as Bungambrawatha, meaning Homeland. Wodonga retained its original name, which refers to a type of plant called cumbungi, a bush potato that is also commonly known as bulrush. Within the installation are two canoes placed on the body of the barbed-wire snake that represents the Murray River.

The large possum skin cloak that adjoins to the central installation represents the land of the grass seed people, the Waradgerie. Connelly-Northey has rendered her cloak in rusted iron and sections of pressed tin that were salvaged from Albury’s former town hall ceiling during the renovations of the Murray Art Museum Albury. It is distorted and undulates, creating a sense of folded fabric.

Both Connelly-Northey and Gascoigne’s work is defined by, and yet transcends, its sense of materiality. Gascoigne perceived the wood, shells, feathers and dried grasses that she collected as being markedly different to the industrial objects incorporated in her art, such as tin, aluminium and iron. Instead, these materials came from nature itself. Connelly-Northey views the act of gathering as one of the central inspirations behind her practice. Rather than drawing attention to the differences between collected materials, Connelly-Northey uses traditional weaving, not assemblage, as a way of bringing together that which is disparate.

Gascoigne and Connelly-Northey each dissociate objects from their original function, while simultaneously reflecting their individual experiences of being immersed in the bush environment. Despite their careers having been separated by time, and coming from vastly different backgrounds, in both artists we see a singular vision that is immediately recognisable, and unmistakably them. And yet there is a sympathetic connection between their practices that is undeniable.

Beckett Rozentals and Myles Russell-Cook

 

Notes

  1. Rosalie Gascoigne, interview with Peter Ross, ABC, 1990.
  2. ‘Waradgerie’, also known as ‘Wiradjuri’, is the artist’s preferred spelling.
  3. For further reading on the artist’s career and exhibition history, see Martin Gascoigne, Rosalie Gascoigne: Catalogue Raisonné, ANU Press, Canberra, 2019.
  4. Rosalie Gascoigne, interview with Ian North, Canberra, 9 Feb. 1982. Transcript held in National Gallery of Australia Research Library, Canberra, and Rosalie Gascoigne papers, box 21, National Library of Australia, Canberra.
  5. Rosalie Gascoigne quoted in Viki MacDonald, Rosalie Gascoigne, Regaro Pty Ltd, Paddington, Sydney, 1998, p. 76.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Country air' 1977 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Country air (installation view)
1977
Painted and corrugated galvanised iron, weathered wood, plywood
National Gallery of Australia
Purchased 1979
Photo: Marcus Bunyan

 

 

Rosalie Gascoigne began incorporating both sheet and corrugated iron in her work between 1973 and 1974. Gascoigne viewed galvanised iron as a very ‘Australian’ material, and she continued using iron until 1998, experimenting with different weights and colours of the pieces she collected. Country air  comprises four heavy, weathered and dented corrugated sheets, which Gascoigne found at the Canberra Brickworks in 1976, and are presented in the state that she found them. Encased in the simple timber frames, the ripples and bent pieces of iron have the illusion of curtains gently blowing in a breeze.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Country air' 1977 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Country air (installation view detail)
1977
Painted and corrugated galvanised iron, weathered wood, plywood
National Gallery of Australia
Purchased 1979
Photo: Marcus Bunyan

 

Installation view of Rosalie Gascoigne's 'Crop 2' (1982, foreground) and Lorraine Connelly-Northey's 'A Possum Skin cloak: Blackfella road' (2011-2013, background) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Installation view of Rosalie Gascoigne’s Crop 2 (1982, foreground) and Lorraine Connelly-Northey’s A Possum Skin cloak: Blackfella road (2011-2013, background) at the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Crop 2' 1982 (installation view)

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Crop 2' 1982 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Crop 2 (installation views)
1982
Salsify (Tragopogon porrifolius), galvanised wire, corrugated iron
National Gallery of Victoria
Gift of Ben Gascoigne AO
Photos: Marcus Bunyan

 

 

Crop 2 comprises a piece of chicken wire that seems to float over a sheet of galvanised iron. The two are connected by hundreds of dried salsify heads (Tragopogon porrifolius – part of the daisy family), which are stripped of their leaves and threaded through the holes in the wire. The resulting effect is a poetic evocation of cultivated land, and of order imposed on the natural environment. Evident in Crop 2 is the influence of the artist’s training in Sogetsu ikebana, as it is based on a knowing combination of intuition and discipline, and a concentrated search for an essential form.

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'A Possum Skin cloak: Blackfella road' 2011-2013 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin cloak: Blackfella road (installation view)
2011-2013
Rusted iron and tin, fencing and barbed wire, wire
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2014
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'A Possum Skin cloak: Blackfella road' 2011-2013

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin cloak: Blackfella road (installation view)
2011-2013
Rusted iron and tin, fencing and barbed wire, wire
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2014
Photo: NGV

 

'Found and Gathered' wall text

 

Wall text

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'A Possum Skin cloak: Blackfella road' 2011-2013 (installation view detail)

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'A Possum Skin cloak: Blackfella road' 2011-2013 (installation view detail)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin cloak: Blackfella road (installation view details)
2011-2013
Rusted iron and tin, fencing and barbed wire, wire
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2014
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'A Possum Skin cloak' 2005-2006 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin cloak (installation view)
2005-2006
From the Hunter-gatherer series
Rusted corrugated iron
119.5 × 131.5 × 5.0cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2006
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) A Possum Skin cloak 2005-2006 (installation view)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin cloak (installation view)
2005-2006
From the Hunter-gatherer series
Steel, Chinese chicken feathers
148.0 × 132.0 × 10.0cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2006
Photo: Marcus Bunyan

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) A Possum Skin cloak 2005-2006 (installation view detail)

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin cloak (installation view detail)
2005-2006
From the Hunter-gatherer series
Steel, Chinese chicken feathers
148.0 × 132.0 × 10.0cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by Supporters and Patrons of Indigenous Art, 2006
Photo: Marcus Bunyan

 

Installation view of Rosalie Gascoigne's 'Milky way' (1982, far left) and her 'Lantern' (1990, far right) and 'Vintage' (1990, second right) at the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia

 

Installation view of Rosalie Gascoigne’s Milky way (1982, far left) and her Lantern (1990, third right) and Vintage (1990, second right) at the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Milky way' 1995 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Milky way (installation view)
1995
Painted wood
TarraWarra Museum of Art, Healesville
Gift of Eva Besen AO and Marc Besen AC
Photo: Marcus Bunyan

 

 

Rosalie Gascoigne moved to Mount Stromlo Observatory in 1943 to marry astronomer Ben Gascoigne, who she had previously met while studying at university in Auckland. The first of their three children was born later that year. It was also in 1943 that Gascoigne started exploring the region on foot, bringing home objects she discovered on her journeys. Milky way is one of just two works Gascoigne produced directly related to an astrological theme. Following his wife’s passing, Ben Gascoigne stated that although Gascoigne had many chances, at no time did she look through te telescopes at the Observatory during they years they lived there.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Lantern' 1990 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Lantern (installation view)
1990
Sawn plywood retro-reflective road signs on plywood backing
TarraWarra Museum of Art, Healesville
Gift of Eva Besen AO and Marc Besen AC
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Vintage' 1990 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Vintage (installation view)
1990
Sawn plywood reflective road signs on composition board
Private collection, Canberra
Photo: Marcus Bunyan

 

Installation view of the exhibition 'Found and Gathered' at The Ian Potter Centre NGV Australia showing at right, Rosalie Gascoigne's 'Yellow beach' (1984)

 

Installation view of the exhibition Found and Gathered at The Ian Potter Centre NGV Australia showing at right, Rosalie Gascoigne’s Yellow beach (1984)
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) '(Yellow beach)' 1984 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
(Yellow beach) (installation view)
1984
Scallop shells, painted wood, plywood
Private collection, Canberra
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Red beach' 1984 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Red beach (installation view)
1984
Wood, nails, shells, paint
Private collection, Canberra
Photo: Marcus Bunyan

 

 

Rosalie Gascoigne was an avid shell collector, often focusing on gathering just one type of shell at a time, and storing them in boxes, jars and bowls. Discerning in her selection, she brought home only shells she deemed to be of good colour and with no chips. The Tasmanian scallop shells used in Red beach, (Yellow beach) and (Twenty-five scallop shells) were collected by Gascoigne’s son, Toss, who was living in Hobart at the time. He gathered them from Seven Mile beach, just near Hobart Airport, which the family used to visit.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Red beach' 1984 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Red beach (installation view)
1984
Wood, nails, shells, paint
Private collection, Canberra
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Twenty-five scallop shells' c. 1984-1986 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Twenty-five scallop shells (installation view)
c. 1984-1986
Scallop shells, wood
Private collection, Canberra
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Twenty-five scallop shells' c. 1984-1986 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Twenty-five scallop shells (installation view detail)
c. 1984-1986
Scallop shells, wood
Private collection, Canberra
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Turn of the tide' 1983 (installation view)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Turn of the tide (installation view)
1983
Painted wood, galvanised iron, shells
Private collection, Sydney
Photo: Marcus Bunyan

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Turn of the tide' 1983 (installation view detail)

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Turn of the tide (installation view detail)
1983
Painted wood, galvanised iron, shells
Private collection, Sydney
Photo: Marcus Bunyan

 

 

Installation view of Lorraine Connelly-Northey’s On Country (2017) at the exhibition Found and Gathered at The Ian Potter Centre NGV Australia
Photo: Marcus Bunyan

 

 

The installation On Country overflows onto the adjoining wall with this possum skin cloak. This component on On Country represents the land of the grass seed people, the Waradgerie. The object has been rendered in rusted iron and sections of pressed tin, and the cloak is fringed with white and brown koolimans of varying scales, which were salvaged from Albury’s former town hall ceiling during renovations of the Murray Art Museum Albury. The rusted sheet is distorted and undulates over the entire object creating a sense of folded fabric.

 

Installation view of Lorraine Connelly-Northey's 'On Country' 2017, on display at MAMA, Albury

 

Installation view of Lorraine Connelly-Northey’s On Country 2017, on display at MAMA, Albury
© the artist

 

'Found and Gathered' wall text

 

Wall text

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Inland sea' 1986

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Inland sea
1986
Weathered painted corrugated iron, wire
(a-ff) 39.1 x 325.0 x 355.5cm (variable) (installation)
National Gallery of Victoria, Melbourne
Purchased, 1993
© Rosalie Gascoigne Estate/Licensed by Copyright Agency, Australia

 

 

In Inland sea, 1986 (above), sixteen large sheets of corrugated tin hover above the floor in a loose grid arrangement. The grid format unifies the separate parts of the composition, and also enhances the expressive power of different visual elements through repetition. The shapes and lines repeated across the buckling sheets of tin create a powerful sense of the gentle movement of wind or water.

The strong visual rhythms and movement evident in Gascoigne’s compositions are often achieved through the repetition of different visual elements. Step through, 1980 (above), is made from fifteen separate parts, each made from a torn piece of brightly coloured, floral patterned linoleum mounted on a block of wood. The blocks sit at different angles creating different levels within the installation. The spaces between the different parts create a meandering path for the viewer to explore, highlighting the importance of movement through and across space in Gascoigne’s work.

“I was thinking about the unkempt empty blocks in built up city areas … usually covered in rank grasses and flowering weeds … rubble, old tins and bottles. One steps through them gingerly and, with possible snakes in mind, lifts one’s knees high.” ~ Vici MacDonald, Rosalie Gascoigne, Regaro Pty Ltd, Sydney, 1998, p. 48

Text from the NGV Rosalie Gascoigne Education Kit

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Honey flow' 1985

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Honey flow
1985
Painted and stencilled wood, nails on plywood backing
Collection of Justin Miller, Sydney

 

 

Some of the most eye-catching and striking board pieces by Rosalie Gascoigne are her compositions created out of distinctive yellow Schweppes soft-drink boxes. In 1985m Gascoigne created her first all-yellow-soft-drink box work, Honey flow, which was the same year she made her first all-yellow retro-reflective work. With both these materials, Gascoigne explored all aspects of the featured lettering and negative space, including whole words, sections of texts and letters, and isolated shapes. She also experimented with different degrees of weathering and shading of her materials.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'All summer long' 1996

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
All summer long
1996
Sawn painted and stencilled wood from soft-drink boxes
Bendigo Art Gallery, Bendigo

 

 

One of Rosalie Gascoigne’s largest wall-base pieces, All summer long was included in an exhibition of her all-yellow works held at the Adelaide Festival in 1996. The title references the long hot summer days experienced in Adelaide and its surrounds – the sunburnt landscape turning yellow. The slivers of black text once read ‘Schweppes screw top 32 fl. oz’, and the areas of split and broken text rise and fall against the expanses of the muted golden tones, drawing the eye steadily across the composition.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Flash art' 1987

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Flash art
1987
Tar on reflective synthetic polymer film on wood
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Loti and Victor Smorgon Fund, 2010

 

 

Created from cut-up road signs that have been rearranged and organised in a grid configuration, the scratched panels and fragments of disconnected text form a striking abstract field of flickering letters against a bright yellow background. This work exemplifies Rosalie Gascoigne’s poetic use of found objects, particularly those containing text. The open structure and repetitive patterns evoke a sense of expansiveness and space, while the weather-beaten surface with gestural smears of tar connects it to a particular idea of place.

 

'Found and Gathered' wall text

'Found and Gathered' wall text

 

Wall text

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Suddenly the lake' 1995

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Suddenly the lake
1995
FSC-coated plywood formboard, painted galvanised iron sheet, synthetic polymer paint on composition board
National Gallery of Australia, Canberra
Given by the artist in memory of Michael Lloyd, 1996

 

 

Suddenly the lake is based on the view of Lake George at Gearys Gap, New South Wales, seen while driving along the Federal Highway out of Canberra. The parallel hills also reference the work of New Zealand artist, Colin McCahon, who Gascoigne greatly admired. Gascoigne referred to the curved piece of formboard used in the work as her ‘Ellsworth Kelly curve’ as it reminded Gascoigne of American artist Kelly’s Orange curve, 1964-1965 (below), which she had viewed at the National Gallery of Australia, Canberra.

 

Ellsworth Kelly (American, 1923-2015) 'Orange curve' 1964-1965

 

Ellsworth Kelly (American, 1923-2015)
Orange curve
1964-1965
Oil on canvas
National Gallery of Australia, Canberra

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Clouds III' 1992

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Clouds III
1992
Weathered painted composition board on plywood
(a-d) 75.4 × 362.2cm (installation)
National Gallery of Victoria, Melbourne
Purchased 1993

 

 

Evocative of clouds shifting and transforming shape across the horizon, the hand-torn masonite shapes incorporated into Clouds III speak to the transience of natural phenomena. The metaphysical quality Rosalie Gascoigne imbued in everyday materials that had been discarded enabled her to, as she articulated it, ‘capture the “nothingness” of the countryside, those wide-open spaces … the great Unsaid … the silence that often only visual beauty transcends’. Clouds III was originally displayed as part of an installation of three Cloud works at Roslyn Oxley9, Sydney, in 1992.

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999) 'Pink window' 1975

 

Rosalie Gascoigne (Australian born New Zealand, 1917-1999)
Pink window
1975
Window frame, pink undercoat, corrugated iron
116.0 x 104.0 x 10.0cm
Private Collection, Canberra
© Rosalie Gascoigne / Copyright Agency, Australia

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962) 'A Possum Skin Cloak: Three rivers country' 2010

 

Lorraine Connelly-Northey (Australian / Waradgerie, b. 1962)
A Possum Skin Cloak: Three rivers country
2010
Burnt finely corrugated tin, rusted wire, fenced wire, rabbit proof fencing wire, corrugated iron, tin, wire
Museum of Contemporary Art, purchased with funds provided by the Coe and Mordant families, 2010
Image courtesy the artist and Museum of Contemporary Art Australia
© the artist
Photo: Jenni Carter

 

 

Three rivers country pays homage to my mother’s knowledge of water on country. The work is my interpretation of an opossum skin cloak with incisions depicting rivers and koolimans. The work represents the land of the ‘Waradgerie Winnowers’, my mother’s tribal boundary, Waradgerie Country.”

.
Lorraine Connelly-Northey, 2010

 

 

In Lorraine Connelly-Northey’s A Possum Skin Cloak: Three rivers country, she challenges conventioanl historical narratives, employing the objects of Western industry to map Waradgerie Country. Waradgerie Country, in central New South Wales, is often referred to as ‘Three rivers country’, because the Wambool (the Macquarie), the Kalari (the Lachlan) and the Murrumbidjeri (Murrumbidgee) rivers course through it. As the artist states: ‘Three rivers country pays homage to my mother’s tribal boundary, Waradgerie Country, along with the peoples known as the grass seed people who created koolimans to winnow their seed for seed cake making’.

 

Waradgerie (Wiradjuri) country in central New South Wales is vast, with hills in the east, river floodplains and grasslands in the interior and mallee to the west. It is known as Three Rivers Country, as the Murrumbidgee, Kalari (Lachlan) and Wambool (Macquarie) rivers course through it, teeming with life. But as the colonial frontier spread west from Bathurst in the early 1800s, the Three Rivers Country was surveyed and cleared, dissected and demarcated, and kilometres of fencing spread through Waradgerie land like cracks through ice.

In her epic installation Three rivers country Lorraine Connelly-Northey wrestles with this history, employing the objects of western industry to map her country. The materials she uses marry the two foundations of her practice: the heritage of her Waradgerie mother and the heritage of her Irish father. While her father encouraged her use of discarded materials, it was as a young child with her mother that she honed her fine handiwork skills through crocheting and sewing. As Connelly-Northey explains: ‘I set out to ensure that however my art developed it would represent my parents equally.’1

In this work the snaking rivers dominate, shifting from rusted rippled iron and the delicate open weave of agricultural fencing to the familiar lacework of rabbit-proof wire. Tying these forms together are coolamons: oval-shaped bowls that form both the riverbanks and the great, cultivated plains of the interior. The work, says Connelly-Northey, ‘pays homage to my mother’s knowledge of water on country … [and represents] the land of the “Waradgerie Winnowers”.’ But it also speaks to her mother’s life experience, ‘born and raised on the banks of freshwater rivers’ in shanties patch worked together with discarded materials like those Connelly-Northey uses in her works of art.

 

Notes

  1. Lorraine Connelly-Northey quoted in Julian Bowron, Lorraine Connelly-Northey: Waradgerie weaver, exh. cat., Swan Hill Regional Art Gallery, Victoria, unpaginated.
  2. Lorraine Connelly-Northey, artist’s statement, in Carly Lane and Franchesca Cubillo (eds.,), unDisclosed: 2nd National Indigenous Art Triennial, exh. cat., National Gallery of Australia, Canberra, 2012, p. 39.

 

Anonymous text. “Lorraine Connelly-Northey: Three rivers country, 2010,” on the Museum of Contemporary Art website [Online] Cited 28/12/2021

 

Aboriginal Nations / Languages in NSW and ACT

 

Aboriginal Nations / Languages in NSW and ACT – Mount Stromlo is in the ACT (Canberra on the map)

 

 

The Ian Potter Centre: NGV Australia

Federation Square
Corner of Russell and 
Flinders Streets, Melbourne

Opening hours:
Daily 10am – 5pm

National Gallery of Victoria website

LIKE ART BLART ON FACEBOOK

Back to top

28
Nov
21

New website: Marcus Bunyan – celebrating 30 years of art practice in 2021

November 2021

 

Celebration!

 

 

Recent work

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2021
From the series Resonance

 

 

In 2021, I celebrate 30 years of art practice with the creation of a new website, the first to contain all my bodies of work since 1991 (note: more bodies of work still have to be added between 1996-1999).

My first solo exhibition was in a hair dressing salon in High Street, Prahran, Melbourne in 1991, during my second year of a Bachelor of Arts (Fine Art Photography) at RMIT University (formerly Phillip Institute out in Bundoora). Titled Of Magic, Music and Myth it featured black and white medium format photographs of the derelict Regent Theatre and the old Victorian Railway’s Newport Workshops.

The concerns that I had at the time in my art making have remained with me to this day: that is, an investigation into the boundaries between identity, space and environment. Music and “spirit” have always been an abiding influence – the intrinsic music of the world and the spirit of objects, nature, people and the cosmos … in a continuing exploration of spaces and places, using found images and digital and film cameras to record glances, meditations and movement through different environments.

30 years after I started I hope I have learnt a lot about image making … and a lot about myself. I also hope the early bodies of my work are still as valid now as they were when I made them. In the 30 years since I became an artist my concerns have remained constant but as well, my sense of exploration and joy at being creative remains undimmed and an abiding passion.

Now, with ego integrated and the marching of the years I just make art for myself, yes, but the best reason to make art is … for love and for the cosmos. For I believe any energy that we give out to the great beyond is recognised by spirit. Success is fleeting but making art gives energy to creation. We all return to the great beyond, eventually.

Dr Marcus Bunyan

.
Each photograph in this posting links to a different body of work on my new website. Please click on the photographs to see the work.

 

 

Unknown photographer. 'Opening of Marcus Bunyan's exhibition 'The Naked Man Fears No Pickpockets' at The Photographers' Gallery and Workshop, Melbourne, 1993 showing at left (behind the crowd) the photograph 'Richmond Steps' 1993' 1993

 

Unknown photographer
Opening of Marcus Bunyan’s exhibition The Naked Man Fears No Pickpockets at The Photographers’ Gallery and Workshop, Melbourne, 1993 showing at left (behind the crowd) the photograph Richmond Steps 1993
1993
Polaroid

 

Ian Lobb (Australian, b. 1948) 'Marcus 31/8/92 Taken by Ian Lobb at Phillip [Institute]' 1992

 

Ian Lobb (Australian, b. 1948)
Marcus 31/8/92 Taken by Ian Lobb at Phillip [Institute]
1992
Polaroid

 

Jeff Whitehead (Australian) 'Marcus in his Fred Perry and Doc Martens with his Mamiya RZ67 on tripod with Pelican case on Jeff's car, Studley Park, Melbourne' 1991-1992

 

Jeff Whitehead (Australian)
Marcus in his Fred Perry and Doc Martens with his Mamiya RZ67 on tripod with Pelican case on Jeff’s car, Studley Park, Melbourne
1991-1992
Colour photograph

 

The only photograph of me with my camera 30 years ago!

 

Marcus Bunyan. 'Untitled' from the series 'Stones, Vaults, Flowers: Père Lachaise' 2017-2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2017-2020
From the series Stones, Vaults, Flowers: Père Lachaise

 

Marcus Bunyan (Australian, b. 1958). 'Untitled' from the series 'A Day in the Tiergarten' 2019-2020

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019-2020
From the series A Day in the Tiergarten

 

Marcus Bunyan (Australian, b. 1958) ‘Untitled’ from the series ‘The Night Journey’ 2019

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series The Night Journey

 

Marcus Bunyan (English-Australian, b. 1958) 'Untitled' 2019 From the series 'Oblique'

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2019
From the series Oblique

 

Marcus Bunyan. 'Parc de Sceaux' from the series 'Paris in film' 2018

 

Marcus Bunyan (Australian, b. 1958)
Parc de Sceaux
2018
From the series Paris in film

 

 

War dreams 2007-2017

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2013 - 2017

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013-2017
From the series The Shape of Dreams

 

Marcus Bunyan. 'Too Much of the Air' 2015

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2015
From the series Too Much of the Air

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'upside down' 2013

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2013
From the series upside down

 

Marcus Bunyan. 'Untitled' from the series 'Vertical' 2011

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2011
From the series Vertical

 

Marcus Bunyan. 'Untitled' from the series 'The Symbolic Order (cartes de visite)' 2011

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2011
From the series The Symbolic Order (cartes de visite)

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Missing in Action (red kenosis)' 2010

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2010
From the series Missing in Action (red kenosis)

 

Marcus Bunyan. 'Missing in Action (dark kenosis) No.68' 2010

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2010
From the series Missing in Action (dark kenosis)

 

Marcus Bunyan. 'Missing in Action (horizontal kenosis) No.17' 2010

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2010
From the series Missing in Action (horizontal kenosis)

 

Marcus Bunyan. 'Untitled' from the series 'There But For The Grace of You Go I' 2009

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2009
From the series There but for the Grace of You Go I

 

Marcus Bunyan. 'Untitled' from the series 'The Shape of Dreams' 2009

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2009
From the series The Shape of Dreams

 

Marcus Bunyan. 'Untitled' from the series 'Momentum' 2009

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2009
From the series Momentum

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Cut and Thrust' 2008

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2008
From the series Cut and Thrust

 

Marcus Bunyan. 'Untitled' from the series 'Drone' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Drone

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Nebula' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Nebula

 

 

Transformations 1996-2008

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Discarded Views' 2008

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2008
From the series Discarded Views

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Last Stand' 2008

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2008
From the series Last Stand

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Wonders Never Cease' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Wonders Never Cease

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Unearth' 2007

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2007
From the series Unearth

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Aporia' 2006

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2006
From the series Aporia

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Photos My Mother Sent Me' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series Photos My Mother Sent Me

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'No Man's Land' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series No Man’s Land

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Tokern' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series Tokern

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Inurtia' 2005

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2005
From the series Inurtia

 

Marcus Bunyan (Australian, b. 1958) 'VV – 09GI and NV – 17EP during a thunderstorm, Albury' from the series 'Enclosure' 2005

 

Marcus Bunyan (Australian, b. 1958)
VV – 09GI and NV – 17EP during a thunderstorm, Albury
2005
From the series Enclosure

 

Marcus Bunyan (Australian, b. 1958) 'Bedtime' from the series 'Neo_mort' 2004

 

Marcus Bunyan (Australian, b. 1958)
Bedtime
2004
From the series Neo_mort

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Desideratum' 2003

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2003
From the series Desideratum

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'Last Days at Karngara' 2002

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2002
From the series Last Days at Karngara

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' from the series 'The Wrestlers' 2001

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2001
From the series The Wrestlers

 

Marcus Bunyan (Australian, b. 1958) 'Button 2B' from the series 'D O < R >' 2001

 

Marcus Bunyan (Australian, b. 1958)
Button 2B
2001
From the series D O < R >

 

Marcus Bunyan (Australian, b. 1958) 'Plane 6' from the series 'Throw High and Hard' 2001

 

Marcus Bunyan (Australian, b. 1958)
Plane 6
2001
From the series Throw High and Hard

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 2000 From the series 'Thirdspace'

 

Marcus Bunyan (Australian, b. 1958)
Untitled
2000
From the series Thirdspace

 

 

Black and white archive 1991-1997

 

PLEASE VIEW THE BLACK AND WHITE ARCHIVE POSTINGS

 

 

Marcus Bunyan black and white archive 1991-1997

PLEASE VIEW THE BLACK AND WHITE ARCHIVE POSTINGS

 

 

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

24
Oct
21

Photographs: Marcus Bunyan. ‘Resonance’ 2021

October 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Resonance noun: the power to bring images, feelings, etc. into the mind of the person reading or listening; the images, etc. produced in this way…

 

 

A body of work for 2021. Very proud of this sequence…

Taken in heavy overcast conditions with slight rain after a thunderstorm had passed through on my Mamiya RZ67 medium format film camera, at Eagle’s Nest, Bunurong Marine and Coastal Park, Victoria, Australia.

A period of intense seeing and previsualisation.

No cropping, all full frame photographs. The colours are as the camera saw them.

See the layout of the series on my website.

Dr Marcus Bunyan

48 images
© Marcus Bunyan

 

Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a digital colour 16″ x 20″ print costs $1,000 plus tracked and insured shipping. For more information please see the Store web page.

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Marcus Bunyan. 'Untitled' from the series 'Resonance' 2021

 

 

Marcus Bunyan website

LIKE ART BLART ON FACEBOOK

Back to top

04
Apr
21

Marcus Bunyan black and white archive: ‘Orphans and small groups’ 1994-1996 Part 2

April 2021

 

Marcus Bunyan. 'Ma mère' 1994

 

Marcus Bunyan (Australian, b. 1958)
Ma mère
1994
Gelatin silver print

 

 

Earlier in my life I believed that identity was always fluid, always in flux. These photographs reflect that belief.

Now as I get older, this belief has changed.

Identity is always steady – at a certain level – and that the old adage to know ones-self is still the greatest challenge. And that this knowledge brings a core that is consistent.

The fluidity of self-knowledge disappears when attention is sharpened.

.
Marcus Bunyan 2021

 

 

I am scanning my negatives made during the years 1991-1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan. Please click the photographs for a larger version of the image. Please remember these are straight scans of the prints, all full frame, no cropping !

Marcus

*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my Store web page.

 

 

Marcus Bunyan. 'Untitled (Rembrandt thinking)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Rembrandt thinking)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'The conversation' 1996

 

Marcus Bunyan (Australian, b. 1958)
The conversation
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (Pope folded)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Pope folded)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (Pope unfolded)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Pope unfolded)
1996
Gelatin silver print

 

Marcus Bunyan. 'The Angelus, New R, 1892' 1996

 

Marcus Bunyan (Australian, b. 1958)
The Angelus, New R, 1892
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Thy Kingdom Come' 1996

 

Marcus Bunyan (Australian, b. 1958)
Thy Kingdom Come
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Purity' 1996

 

Marcus Bunyan (Australian, b. 1958)
Purity
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Whistler's mother (looking out to sea)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Whistler’s mother (looking out to sea)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Holbein's Happiness' 1996

 

Marcus Bunyan (Australian, b. 1958)
Holbein’s Happiness
1996
Gelatin silver print

 

Marcus Bunyan. 'Untitled (Sweet heart with leaves)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (Sweet heart with leaves)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Windows at 63aa' 1995

 

Marcus Bunyan (Australian, b. 1958)
Windows at 63aa
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Urban abstraction (for Max)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Urban abstraction (for Max)
1995
Gelatin silver print

 

Marcus Bunyan. 'Untitled' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan. 'Between the breath and the silence' 1995

 

Marcus Bunyan (Australian, b. 1958)
Between the breath and the silence
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Shame Fraser' 1995

 

Marcus Bunyan (Australian, b. 1958)
Shame Fraser
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Port Melbourne to Port of Melbourne' 1995

 

Marcus Bunyan (Australian, b. 1958)
Port Melbourne to Port of Melbourne
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Out back' 1995

 

Marcus Bunyan (Australian, b. 1958)
Out back
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (pear on black)' 1994

 

Marcus Bunyan (Australian, b. 1958)
Untitled (pear on black)
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Pear I' 1994

 

Marcus Bunyan (Australian, b. 1958)
Pear I
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Pear II' 1994

 

Marcus Bunyan (Australian, b. 1958)
Pear II
1994
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract I' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract I
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract II' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract II
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Nude in sunlight' 1995

 

Marcus Bunyan (Australian, b. 1958)
Nude in sunlight
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract III' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract III
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract IIII' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract IIII
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract V' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract V
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Abstract VI' 1995

 

Marcus Bunyan (Australian, b. 1958)
Abstract VI
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Question  mark' 1995

 

Marcus Bunyan (Australian, b. 1958)
Question    mark
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Four lines and two trestles' 1995

 

Marcus Bunyan (Australian, b. 1958)
Four lines and two trestles
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Four tyres' 1995

 

Marcus Bunyan (Australian, b. 1958)
Four tyres
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (two cracks)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled (two cracks)
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (plank)' 1995

 

Marcus Bunyan (Australian, b. 1958)
Untitled (plank)
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creature)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creature)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creatures)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creatures)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Untitled (creatures)' 1996

 

Marcus Bunyan (Australian, b. 1958)
Untitled (creatures)
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel I' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel I
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel II' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel II
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel III' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel III
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Roundel IIII' 1996

 

Marcus Bunyan (Australian, b. 1958)
Roundel IIII
1996
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'The structure and fabric of existence 1' 1995

 

Marcus Bunyan (Australian, b. 1958)
The structure and fabric of existence 1
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Passionfruit²' 1995

 

Marcus Bunyan (Australian, b. 1958)
Passionfruit²
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'Passionfruit²' 1995

 

Marcus Bunyan (Australian, b. 1958)
Passionfruit²
1995
Gelatin silver print

 

Marcus Bunyan (Australian, b. 1958) 'The structure and fabric of existence 2' 1995

 

Marcus Bunyan (Australian, b. 1958)
The structure and fabric of existence 2
1995
Gelatin silver print