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4 Nov 21

Found and Gathered


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’,1Rosalie Gascoigne, interview with Peter Ross, ABC, 1990. 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‘Waradgerie’, also known as ‘Wiradjuri’, is the artist’s preferred spelling. 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 2008.3For further reading on the artist’s career and exhibition history, see Martin Gascoigne, Rosalie Gascoigne: Catalogue Raisonné, ANU Press, Canberra, 2019.

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.4Rosalie 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.

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’.5Rosalie Gascoigne quoted in Viki MacDonald, Rosalie Gascoigne, Regaro Pty Ltd, Paddington, Sydney, 1998, p. 76. 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.

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.