Title: Wading, whimbrel, wandering
Technique: Two colour screenprint
Venue: CDU Orange 10 Nan Geise Gallery
water memory Judy Watson 2012
The 3 channel video work follows in the footsteps and research practice of some early Queensland scientists including Joseph, Thomas and Josephine Bancroft (Mackerras) and intertwines this with imagery of Aboriginal people and cultural material from the Brisbane region. Sites include Duke of York’s Hollow, Victoria Park, Enoggera Creek, Bancroft Park, Bowen Park, Qld Herbarium, Qld Museum, the Bancroft Centre and Deception Bay, Brisbane.
The image of water is constant, connecting Aboriginal and scientific histories of place. In the 1880s and 1890s, Joseph and Thomas Bancroft excavated the natural rock formations in an intertidal zone at Deception Bay, creating two tidal baths. These were used for therapeutic and recreational purposes.
Water has memories that carry murmurs from the past, scarified by lines of paddles and the passage of Aboriginal canoes, small boats, and large ships. The journeys of these travellers leave their mark in liquid time, the moon pulled tides covering and uncovering a littoral edge.
Directed by Judy Watson and Alex Barnes
Edited by Alex Barnes
Sound by Michel Hewes
Photography by Carl Warner
Cinematography by Jared Bazley
Venue: CDU Orange 9 Printmaking Building
Flyway Print Exchange Award
In the beginning of the semester both VET and HE Visual Arts students were invited to participate in a print project that highlights the situation for our migrating shore birds. All submitted prints, from both Casuarina and Alice Springs campuses, were exhibited in Nan Giese Gallery 10 – 24 June for selection, and further inclusion in CDU Gallery’s show Our Feathered Friends 19 October, and the official Flyway Print Exchange Project.
Mats Undén, Suzi Lyon, Sarah Pirrie, CDU Lecturers
Joanna Barrkman, Curator CDU Art Gallery
Kate Gorringe-Smith, Flyway Print Exchange Coordinator
Amanda Lilleyman, CDU PhD Candidate
Venue: CDU Sculpture Walk between Orange 3 – Orange 12 – Orange 10
First year Creative Practice students have worked as interdisciplinary teams to create site specific installations responding to the brief ‘visualising the Top End’. The ten installations include:
‘DUSK’ by Sebastian Fitzjohn, Chris Fitzjohn & Connor Smith – University Theatre foyer
We were curious to see if the colours and sounds of a certain time of day, could induce an associated feeling of relaxation in the viewer. Our work entitled “Dusk” aims to capture the light, colour and atmosphere of a typical Top End Sunset in an immersive context.
With Dusk, we wanted to create a ‘seamless’ space in which the viewer would be bathed in the light and intense colours of a typical Top End Sunset, and surrounded by the associated sounds of that time of day.
Rather than creating a light installation within a physical space, we thought it might be more interesting to make use of emerging technologies such as Virtual and Augmented Reality to create a virtual room of light. This would also create an interesting contrast by bringing the outdoors, indoors, and in fact one step further to make the experience completely subjective and personal to one viewer at a time.
Through this work we hope to convey an awareness of Top End threatened species, the key impacts human activities are having on them, and the importance of being aware and managing these impacts as individuals and a collective.
‘Visualising the Territory’ by Jason Jolly – University Theatre foyer screen
The style is almost a like a digital collage, a minimal representation of the Northern Territory, it takes heavy inspiration from aboriginal art works and is a simple visualisation of the elements we’ve come to associate so frequently with the Northern Territory. The soothing sea rocking back and forth while the harsh sun beams down upon the hot red earth – a light breeze carries bushfire smoke across the calm blue sky. I chose obvious imagery to evoke images of the Territory and added depth to them by giving them textures- the land and sea are comprised of rough brush strokes, the sky’s pattern and the sun’s rays (signified by small dots) borrowing significantly from aboriginal art styles found in the NT. The second part of the piece advertises the many elements that make up the VTER conference in text, which is shaped like the territory, linking back once again to the theme of the assessment. Overall, though my original project was to be quite different, this piece still effectively captures the essence of the territory in a way that is very straightforward and unabstract.
‘It comes with the Territory’ by Sarah Alexander, Kyle James, James Olsen – University Theatre exterior
One of our initial inspirations was from the working tradesmen, which is a large majority of Territorians who drink Pauls Ice coffee every day. Another influence was seen back in 2012 when the NT Fridge Festival was held at the Waterfront in Darwin City. A Pauls Iced Coffee Carton was recreated using a fridge with ‘Northern Novelty’ as their connection and message to the Top End featuring satirical dietary information. With this drink being such a massive icon here in the NT, how could we not up size this carton and show off to our audience its projecting ambience of “Worshipped by the God’s” as a savour to quench the thirst of all mankind.
‘Jabiru Bird’ by Angie Marshall, Jessica Henderson and Zak Kitsos – Amphitheatre (rear) garden
The Northern Territory is unique in the sense that it accounts for one of the largest portions of the country, but has been long known to be sparsely populated and largely undeveloped. In recent times however, this is changing rapidly as construction sites close in on wildlife reserves and unprotected habitats of native NT wildlife. The Jabiru bird, the subject of our installation, is one that many people from the bigger cities will instantly recognise as an icon of the northern wetlands, however what they may not know is that their species is now under threat from the practise of “filling in” wetlands to prepare for development.
With this in mind, we crafted a possible ‘vision of the Top End’ for the future if the safety of native species is not secured, since it is all to possible for the real wetlands to descend into this state. Therefore, our artwork aims to convey the desperation of the situation at large and the immediacy of the inevitable consequences.
‘Multicultural Tree’ by Natalie Ferreira, Reema Bali & Dang Dao – Orange 12 lawn
This art work is based on the idea that the Northern Territory (NT), is culturally diverse. Multiculturalism is present in many aspects of life such as cuisine, fashion, music and language. Even though English is the main language in Australia, people have freedom of choice, and can use their preferred languages within their own communities. This also applies to the NT. This is what inspired us to come up with our idea about cultural diversity, as it is like a kaleidoscope reflecting many different colours.
The art work allows people from varied cultures to have an idea of the territory’s highlights. People’s opinions will be collected and presented as a word or phrase on a tag. Tags created from coloured paper, are handed to those who are interested, to describe their favourite aspect of the territory and how they perceive their presence here, in terms of cultural perspectives. This project is special as it lets the audience see the aesthetic realm of multiculturalism through the tags written, including many different languages such as Chinese, Thai, Vietnamese, Indonesian, Portuguese and English etc. Tags are hung on the tree in different colours, creating eye-catching visuals and a sense of diversity.
This idea of this artwork is to help establish individuals’ identities and values when it comes to living in the territory with a cultural background. Multiculturalism is like a collection of colours, where each colour is unique on its own but contributes to forming the beauty of life. Each individual represents each of the colours, where our cultures, beliefs, voices and selves belong to our own, but also form an essential part of Australia, and the NT in particular. Apart from multiculturalism, experiences in the territory can bring our residents, as well as visitors, a special sense that is unique and only found in the territory.
‘DRIFT’ by Jake Lomboy, Julia Knopp, and Paul Machuki – Orange 10 garden
We chose to create a sculpture of a person fishing out of both natural and manmade found and recycled items. We have sought to express that relaxed feeling people have as they sit back and wait for the fish, enjoying their surroundings. We also hoped to reflect the slower pace of life in the NT compared to other Major cities in Australia.
We titled our life sized human sculpture ‘Drift’ because the driftwood is a major theme in our work, and because fishing is an activity that allows you to drift from thought to thought.
The driftwood we used shows the connection the person has to the environment they have basically become a part of. Using bare driftwood also shows the effects that the weather and nature has on everything in the NT.
The manmade objects we collected from the tip shop, beaches and gathered from our homes, show things that Territorians use frequently while enjoying the outdoors. Each object is weathered to a degree, with the colour fading because of sun, wind and rain. Choosing weathered objects shows everything can be affected by the weather. It also suggests the fisherman has been there for a while.
‘Emerging’ by Isabella Mellios, Stephen Ortega & Dai Nguyen – Orange 10 garden
Our artwork, Emerging, considers the Northern Territory’s (NT) crocodiles and industrialism. The artwork is a representation of the many predatory saltwater crocodiles found in the NT, emerging from what would be visualised as water.
The individual pieces of our artwork represents the development of Darwin and the NT, and the silver metallic colour representing the continuous growth of buildings and construction.
‘FOUR CORNERS’ by Alisha Brendan, Jordan Mayse, Christian Carbajosa, and Steve Gaston – Orange 10 garden
The Box Jellyfish is claimed to be the most venomous marine animal known to mankind with its sting, often fatal (Birgit). Jellywish is our comment to this irony.A beach umbrella was used as the head of the Jellyfish. A mosquito net was used to make the ‘underbelly’, while standard swimming pool noodles were connected to form quite elaborate tentacles. Aluminium coated rubber hoses create the tentacle exoskeleton and standard finish line connects the body to a tree branch above. These are all items commonly used at the beach. It is a representation of the box jellyfish being the main concern of beach-goers that restrict them from swimming. Though the sculpture may seem humorous and colourful in our eyes, there is danger hidden within its characteristics, much like the jellyfish.