Examples of Previous works

This page shows examples of how I research site-specific contexts in the creation of artworks which are presented as exhibitions in a gallery. 

Images 1 – 6 are work from the installation Yallourn Amendment Act for the exhibition Vantage Point curated by Will Foster. The work researched the site of one of Australia’s largest open cut coalmines, southeast of Melbourne at Yallourn. Yallourn was a company town built by the State Electricity Commission but was demolished and relocated in the 1980’s to expand the coal mine in the La Trobe Valley. The work responded to the gallerys’ former role as an electricity substation, and referenced the BBQ and lookout which can now be found at the edge of the coal mine.
Yallourn Brick

bbq
1 & 2. Yallourn Amendment Act, 2013
Installation detail (barbecue constructed with bricks from the demolished town of Yallourn)
Bricks, barbecue plate, wood, fire, clay, paint
Vantage Point, The Substation.

Yallourn Amendment Act 2013
3. Yallourn Amendment Act, 2013
Installation View,
Bricks, barbecue plate, wood, paper, cardboard, paint, dowel, pen, overhead projector
Vantage Point, The Substation.

Projected BBQ
4. Free electric barbecue courtesy of power generated by Energy Australia (Yallourn Amendment Act), 2013
Installation detail
Overhead projector, paper
Vantage Point, The Substation.

Help To Save Yallourn
5. Help to Save Yallourn (Yallourn Amendment Act), 2013
Installation detail
Paper, pen, A3
Vantage Point, The Substation.

Yallourn Barbecue, Lizzy Sampson
6. Yallourn Amendment Act, 2013
Documentation of an action, where gallery visitors removed the Yallourn barbecue and installed it outside The Substation
Documentation of an action
Vantage Point, The Substation.

Images 7 – 10 are examples of recent works from the exhibition Under Construction.This work was made onsite during a 2 week residency at the Bundoora Homestead, and researched the colonial history of the site.

Welcome Stranger and Bullions
7. Welcome Stranger & Bullions 2016
Yarn on fabric, wood, gold paint rocks, bricks
Installation view
Under Construction, Bundoora Homestead

BH_160430_1011
BH_160430_3465
8 & 9. They turned lead into gold, 2016
Pencils, paint
Installation view and installation detail
Under Construction, Bundoora Homestead

Au web
10. Element 79, 2016
Pencil
Wall drawing, 30cm x 30cm
Under Construction, Bundoora Homestead

Transfer of Gold, 2016
Single Channel video, 2:23min (looped)
Under Construction, Bundoora Homestead

Catalogue essay (excerpt) for Under Construction at Bundoora Homestead

Words: Emily Cormack (Full essay can be read here)

There is no system more unequal than one determined by luck. And it is luck that much of Australia’s mythic colonial identity is constructed upon: the prospector searching for gold, the surveyor seeking the most fertile plains, and most of all the luck of birth. Despite this inequality, luck is the bedrock of identity in this ‘lucky country’ and it is the contentions within this idea that are the subject of Alica Bryson-Haynes and Lizzy Sampson’s project for Under Construction.

Bundoora Homestead is situated on Prospect Hill, a name that conjures both the privilege and inequity of luck. To prospect is both to ‘survey’ and ‘to have something presented to the eye’, and it is the searching for oil or ore. One’s ‘prospects’ are also determined through the luck of birth and the lottery of wealth and race it entails, and yet it is our prospects that often determine our societal and self worth. Bryson-Haynes and Sampson’s collaboration centres on a tapestry work they made during a residency at the Australian Tapestry Workshop. The work features the words IN and OUT and speaks of the artists’ interest in investigating issues of permission and exclusion in relation to Australian identity.

On one side of the room a large banner embroidered in gold thread reads ‘Welcome Stranger’- a curious phrase that references the name given to the largest gold nugget ever discovered in Victoria. Whilst the nugget may have been a welcome stranger to the gold hungry prospectors, the banner can also be read as a comment on Australia’s inhumane treatment of asylum seekers. Stacked in the fireplace are a pile of wooden pencils – the wood ready to be burnt for warmth and the lead alluding to the alchemists reputed ability to transform lead to gold. A pile of gold nuggets positioned within the triangulated cordon of a surveyors marking. Each object belies a network of contradictions that stem from the exclusionary nature of prospecting that the artists see as fundamental in the construction of Australian identity.

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