Fiona Hall's Understore 1999-2004, is a collection of intricate sculptures that explore the notion between life and death, highlighting man's one-sided conquest of urbanisation and political colonisation. To illustrate the symbolism and juxtaposition, the larger than life, beautiful sculptures are enclosed into a transparent display cabinet, a somewhat suffocating space to address death, or a morgue-like dimension. Hall's creations would use beaded glass as the main material, and wire to thread and interweave the beads and give a sense of structure to mould he particular forms. To gain complete creative control, Hall would have manufactured her own glass drawn beads, rather than off the shelf by-products, to dictate the explorative colour contrasts.
Rosalie Gascoigne, All Summer Long 1998, gives an insight on her discovery of personal freedom, finding explorative escape through the means of the Australian landscape in which she had a personal affinity. The intrinsic value of her materials and processes are found in her recognition of those respective materials, and the true value in which she captivates her embodied work. An interesting fact of Gascoigne was the change discovery of wooden Schweppes soft drink crates during the late 70's, which became the necessary materials for a number of her works. Gascoigne would articulate her narrative landscape piece by assembling sawn off yellow-pained wooden crates, by tonal range and weathered painted surfaces to attain the sensation of a distant horizon, and the constant cycle of the sun rising and setting in the Australian outback.
References:
Queensland Art Gallery Media Kit 2005
Film Australia: National Biography Rosalie Gascoigne Study Guide
Roslyn Oxley9 Gallery: Online access
National Gallery of Victoria: Rosalie Gascoigne Education Resource
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