Untitled

Registration Number
1174-2-2
Maker
Type of Object
Edition
Artists Proof
Medium
Ink Jet Print
Collection
Height
82.00cm
Width
122.00cm
When Made
2016
Public Description: 

The work involved a site specific performance by the artists (the carving or scarring of the tree) within the City of Darebin municipality. The material gathered from the object/subject of the performance (the wood chips) is also featured as part of the work alongside the framed photograph which informs the object and acts as a peripheral installation with the wood chips.

“The work we created centres around a statement which emerged from seemingly nowhere, about a scar tree. It relates to the nature of memory and the ways in which we place value on ‘place’ or site, both personally and culturally. With the statement as a conceptual anchor, we found ourselves engaged with an artistic process exploring the nature of site, gaze, presence, absence, law and order, authority and authorship. When thinking about the Bundoora Homestead site, we considered its history as a place including one for cultural expression from over 40,000 years ago, through to today. “

Fergus Binns is a conceptual painter whose work often explores depictions of colonial Australia and national identity. He holds a Bachelor of Fine Art (Painting) from the Victorian College of the Arts. His work is held in various public and private collections.

Steven Rhall’s recent exhibitions include group show ‘Octoroon’ at Ateneo Gallery Phillipines and ‘The Outcome of Walking Slowly Downhill’, a collaboration with Domenico de Clario for the 2016 Mildura Palimpsest Biennale. His work is held in various collections including the National Gallery of Victoria and the City of Melbourne.

Makers Statement: 
Whilst my works for Re-visioning Histories carry an indelible ambiguity, they also act as markers of ‘time and culture’. In a recent talk given by First Nations curator, critic and writer Djon Mundine OAM we are told as audience, there are 6 stages of ‘Aboriginal Art.’ My works reference these stages, adopt their various characteristics, and yet potentially ‘just are,’ as Richard Bell might suggest. Regardless to where they could be placed, the ‘mark,’ sits at their core. Steven Rhall: Re-visioning Histories exhibition catalogue. My work often engages in a playful, cynical and potentially laughable dialogue with aspects of postcolonial Australian culture and identity. The history, environment, iconography, art, pop culture and kitsch Chinese-made souvenirs you may find falling off a shelf in a Swanston Street shop, contribute to the narrative within my work which, tries to come to terms with, or question, the idea of Australia, as it is a metaphorical cloak which I always have to wear. Fergus Binns: Re-visioning Histories exhibition catalogue.