Task 1 Part B
Sydney Biennale Interpretation: Julie Gough's 'Locus'
Julie Gough’s artwork entitled ‘Locus’ is an installation at the 2006 Sydney Biennale which illustrates a representation of the experiences and influences of her past and present, of her childhood in St Kilda to her indigenous ancestry, Trawlwoolway Tasmania.
Rosalie Higson writes for The Australian, in the article entitled ‘Welcome to the Contact Zone’ June 02, 2006 as Locus being the Gough’s largest work to date, as a continuation of Gough’s “long-held interests: What is life, what is self, how do we locate ourselves, especially in the city.” The title Locus, refers to an exploration of life, of self, of the location of ourselves, a work depicting a mergence of elements impacting on the creation and present state of her life and a representation of her history.
The artwork depicts a tea tree forest speared with pages from a novel. Central to the forest is a branch constructed roller-coaster frame, supporting a cuttlefish bone canoe. Each element of this artwork, as dictated by the accompanying artist’s statement, is intended to represent aspects which helped shape memories of her past and influences of her future.
The tea tree branches penetrate into the timber platform base, spearing through a sporadic array of pages from a novel, this representing the telling of her story through the use of native tea tree branches. Constructed in the midst of the tea tree forest is a roller-coaster representing the journey of her life and memories of St Kilda Luna Park, taking us through her journey is a cuttlefish bone canoe describing her family ancestry along the coastal region of north eastern Tasmania. The use of these particular materials and forms in this artwork is in response to an intention to create a convergence between her childhood memories, her Tasmanian Aboriginal culture and identity.
To read Rosalie Higson’s complete article in The Australian, ‘Welcome to the Contact Zone’ June 02, 2006:
http://www.theaustralian.news.com.au/story/0,20867,19333071-16947,00.html
To find out more about Julie Gough, artist, lecturer and curator:
http://homes.jcu.edu.au/~jc156215/index.htm
Sydney Biennale Evaluation: Julie Gough's 'Locus'
Nestled deep in the forest of the Pier 2/3, Walsh Bay at the 2006 Biennale of Sydney is Julie Gough’s installation ‘Locus’. With a footprint spanning 5m x 4m, from a distance the work appears to be a plantation, a dull forest of sparsely positioned branches, arranged on a rectangular timber platform. As you draw nearer, you see a glimpse of something glowing; glowing in the midst of the dry, dull branches is a cuttlefish bone canoe, seemingly floating through the tree tops surrounding it.
Upon even closer inspection you will notice the pages from a novel speared by the tea tree branches, floating a few feet from the ground. Your initial reaction to this element will be one of uncertainty; the leap to making a connection between the pierced paper and the branches becomes clearer with reference to the artist’s statement accompanying the installation, however even then it is a struggle. Understanding the origin of the tea tree branches and making the connection with Gough’s aboriginal ancestry came only with further research into her history and art directive. Is the artwork accessible to the wider audience who have no knowledge of her background? Can the piece still be appreciated as an entity in its own?
Through the reconfiguration of natural materials to illustrate elements of Gough’s past, she is able to create a representation of her life experiences to date with the materials and forms working well together to depict a sense of dull emptiness. The journey represented through the construction of a roller-coaster in the midst of the forest creates a strong personal connection to the artist and installation.
Julie Gough, previously a lecturer in Aboriginal studies at the University of Tasmania, uses the intention to educate and familiarise viewers with history, the untold stories or her past through visual mediums. Locus attempts to capture the point of junction between past and present through the construction of such a large installation, how much depth is lost in the forest? Where does it lead the viewer?
To read Julie Gough’s artist statement for ‘Locus’, follow this link to Zones of Contact:
A World of Art. Here. Now. 2006 Biennale of Sydney http://www.bos2006.com/
To find out more information on other works and installations by Julie Gough: http://www.anu.edu.au/culture/abstractions/artists/jg_1.htm
Julie Gough’s artwork entitled ‘Locus’ is an installation at the 2006 Sydney Biennale which illustrates a representation of the experiences and influences of her past and present, of her childhood in St Kilda to her indigenous ancestry, Trawlwoolway Tasmania.
Rosalie Higson writes for The Australian, in the article entitled ‘Welcome to the Contact Zone’ June 02, 2006 as Locus being the Gough’s largest work to date, as a continuation of Gough’s “long-held interests: What is life, what is self, how do we locate ourselves, especially in the city.” The title Locus, refers to an exploration of life, of self, of the location of ourselves, a work depicting a mergence of elements impacting on the creation and present state of her life and a representation of her history.
The artwork depicts a tea tree forest speared with pages from a novel. Central to the forest is a branch constructed roller-coaster frame, supporting a cuttlefish bone canoe. Each element of this artwork, as dictated by the accompanying artist’s statement, is intended to represent aspects which helped shape memories of her past and influences of her future.
The tea tree branches penetrate into the timber platform base, spearing through a sporadic array of pages from a novel, this representing the telling of her story through the use of native tea tree branches. Constructed in the midst of the tea tree forest is a roller-coaster representing the journey of her life and memories of St Kilda Luna Park, taking us through her journey is a cuttlefish bone canoe describing her family ancestry along the coastal region of north eastern Tasmania. The use of these particular materials and forms in this artwork is in response to an intention to create a convergence between her childhood memories, her Tasmanian Aboriginal culture and identity.
To read Rosalie Higson’s complete article in The Australian, ‘Welcome to the Contact Zone’ June 02, 2006:
http://www.theaustralian.news.com.au/story/0,20867,19333071-16947,00.html
To find out more about Julie Gough, artist, lecturer and curator:
http://homes.jcu.edu.au/~jc156215/index.htm
Sydney Biennale Evaluation: Julie Gough's 'Locus'
Nestled deep in the forest of the Pier 2/3, Walsh Bay at the 2006 Biennale of Sydney is Julie Gough’s installation ‘Locus’. With a footprint spanning 5m x 4m, from a distance the work appears to be a plantation, a dull forest of sparsely positioned branches, arranged on a rectangular timber platform. As you draw nearer, you see a glimpse of something glowing; glowing in the midst of the dry, dull branches is a cuttlefish bone canoe, seemingly floating through the tree tops surrounding it.
Upon even closer inspection you will notice the pages from a novel speared by the tea tree branches, floating a few feet from the ground. Your initial reaction to this element will be one of uncertainty; the leap to making a connection between the pierced paper and the branches becomes clearer with reference to the artist’s statement accompanying the installation, however even then it is a struggle. Understanding the origin of the tea tree branches and making the connection with Gough’s aboriginal ancestry came only with further research into her history and art directive. Is the artwork accessible to the wider audience who have no knowledge of her background? Can the piece still be appreciated as an entity in its own?
Through the reconfiguration of natural materials to illustrate elements of Gough’s past, she is able to create a representation of her life experiences to date with the materials and forms working well together to depict a sense of dull emptiness. The journey represented through the construction of a roller-coaster in the midst of the forest creates a strong personal connection to the artist and installation.
Julie Gough, previously a lecturer in Aboriginal studies at the University of Tasmania, uses the intention to educate and familiarise viewers with history, the untold stories or her past through visual mediums. Locus attempts to capture the point of junction between past and present through the construction of such a large installation, how much depth is lost in the forest? Where does it lead the viewer?
To read Julie Gough’s artist statement for ‘Locus’, follow this link to Zones of Contact:
A World of Art. Here. Now. 2006 Biennale of Sydney http://www.bos2006.com/
To find out more information on other works and installations by Julie Gough: http://www.anu.edu.au/culture/abstractions/artists/jg_1.htm
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