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Curtin University of Technology
John Curtin Gallery

Exhibitions & Events Archive - 2001


SOFA 01

27th November - 16th December 2001

An annual exhibition of work by honours and postgraduate students from the School of Art, Curtin University Of Technology.

The John Curtin Gallery presents SofA 01, a new name and a new exhibition of work by honours and postgraduate students from the School of Art Curtin University Of Technology. SofA 01 is the fourth in our annual presentation of postgraduate and honours student work.

The exhibition is a culmination of years of intensive study, and 12 months of preparation and collaboration with the John Curtin Gallery. The School of Art at Curtin University of Technology is an internationally regarded school of art whose students continue to present innovative work at a high standard both nationally and internationally.

The work presented includes print-based mediums, photography, painting, textiles, jewellery, video, sculpture, ceramics and installation.

SofA 01 is a rigorous exhibition by artists who have recently emerged from further studies in visual arts and culture. It will excite and challenge gallery audiences. The exhibition also offers the unique opportunity to purchase original works by emerging yet accomplished artists, many of whom will extend their art practice into the future.


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40º 68" 74º 01"
Neolene Lucas

31 July - 9 September 2001

..... all about time......

the flow of time, time passing and the relativity of time passing as one moves through space. The time in journeys and between journeys and between people and the possibility of seeing each minute as a now, as a transient present in a continual flow.

The perception of time is deeply subjective; sometimes it can feel unbearably slow or fast. In video the real time can appear unreal and can suit the psychological direction of the work. Video can document something moving in real time and can do it in such a way as to appear dreamlike ungrounded. As with 'Leaving' which is in real time but has a slow, somnambulist, meditative sense. It is also possible to lie, to change the actual time of the video. 'Going' was rendered in slow motion. It appears extremely slow, in keeping with the backward looking image of the video. It creates a feeling of being outside time the sort of stillness that I sought to create in the sculptural installations.

The experience of installation is in the here and now, grounded in actual space, not illusionistic space. The videos play with the here and now, with the then and there, and allow for a not here and a not now to occupy the present.

These works also play with the dilemma of screens, the screen of the lens, of the windscreen and the screen of the monitor. Each video is a fragment in the endless flow of time, it can be a metaphor for a sense of psychological distance and displacement. A place where the inner emotional/mental and outer physical spaces have become confused.

The map works are concerned with of space. They focus on the map as the device for the negotiation of space, no matter how untrustworthy and conditional the maps may have been. The map was always a metaphor, to go beyond the mere physicality of the map and the territory. Still central to the work are the questions, where am I going and how do I negotiate that going.

Now I am more focussed on the passing of time and separation in time. The flow of time, of time seemingly without end or beginning. The flow of past and present, the passing through time in the process of where it is that I am going. Not really even the clarity that the going is to anywhere, but rather that I am in a continual state of going. That life is a continual condition of Going.


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Howard Taylor's Forest Radiance,
and Tim Maguire's paintings
31 July - 9 September 2001

An exhibition of selected paintings and sculptures by the late Howard Taylor Honourary Doctorate of Curtin University Of Technology and An exhibition of paintings by Tim Maguire

tim maguire install
Tim Maguire, installation view, JCG, 2001

howard taylor install
Howard Taylor, Forest Radiance, installation view, JCG, 2001

 

Visual phenomena and the luminosity of the painted surface

The John Curtin Gallery presents two exhibitions of paintings and painted forms by two Australian artists, the late Howard Taylor and Tim Maguire.

Maguire is well renowned for his large-scale representations of fragments of images from European still-life paintings of the seventeenth century. The enlargement of the still-life subject is such that the artist draws focus to the play of light and surface, and the layered process of his painting.

Luminous and layered surfaces are central to Maguire's practice, having developed a painting technique that he refers to as colour separation. In the artist's earlier explorations of lithography and printing processes, he noticed that the transparency of the ink proffered an effective technique for depicting differing qualities of light, a major concern that he transferred to painting.

Maguire is a British-born, Australian painter who currently works from a studio in Paris. This exhibition will be the first major showing of his work in Western Australia. Represented by Tolarno Galleries in Melbourne and Mori Gallery in Sydney, this exhibition is comprised of work held in gallery and private collections from around Australia.

Forest Radiance is an exhibition of the work of Howard Taylor held in local public and private collections, and works collected over the last three decades by Curtin University of Technology. It is a tribute to one of Western Australia's most important and highly respected visual artists, and Honourary Doctorate of Curtin.

The forests of the south west of Western Australia were a constant source of inspiration, content and raw materials for Howard Taylor over a period of fifty years since he returned to Perth after the war in 1949. In particular the forest around the small town of Northcliffe became the focus for much of his work.

Taylor was an artist fascinated with the visual phenomenon of light falling on objects and the radiance of that light refracted by trees and their foliage. For the past thirty years he recorded the nuances of light and colour in the sky and the bush around his studio in Northcliffe. Sometimes these notations are direct transcriptions of places and events, at other times the process of distillation reduces the image down to a series of contained rectangles or a circle hovering within a rectangle. This was not just a process of documenting the extraordinary forms he discovered, he was also fascinated by the mechanisms of perception and the ways in which these forms, and their associated visual phenomenon, are received by the human eye.

The John Curtin Gallery would like to acknowledge the lenders of Forest Radiance, The Holmes a Court Collection, Kerry Stokes Collection, Wesfarmers Collection, Edith Cowan University, Galerie Dusseldorf, Dr Ian and Sue Bernadt and Dr CT Tan.

For Tim Maguire; Tolarno Galleries, Mori Gallery, the Melbourne Club, Corbett Lyon.


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On Line
A survey of drawings by Dr. Pantjiti Mary McLean assisted by Nalda Searles
31 July - 9 September 2001

on line install
On Line, installation view, JCG, 2001

"You mustn't go there, you mustn't go that way, mustn't go that way, you gotta go this way, you come straight back, Mummy cooking rappita, miye (food), you come straight back. Wanadura father, my father he been telling me. Little kids sitting down like that see, in the shelter, telling stories, tjitji (child), wati (man), minyma (woman). Liar stories (making them up). You know they drawing , mama (father), nguntju (mother), tjitji (child) they singing like this one. Weado no yapu paintings (I did not see any stone paintings). Pulpa paintings weado (I did not see any cave paintings).

First time carving I go to Cundalee, lot of boomerangs, Mr Hadfields mob, watiyini selling Karli (A white man was selling our boomerangs). We got chisels from motor car springs, we wipe, wipe, wipe karli with chisel (shaping and smoothing the boomerang from a chisel made of car springs). Then we sell them. Then later at Yallata carving first with axe the chiseling, burning then carving with chisel (the artifact was burned black then images were carved through the balck to create a negative image, common to Cundalee area). Yewa that was good money. We were doing sandal camps, working, all the ladies cleaning sandalwood, we did little bit carving then. All the ladies loading sandalwood. We went to Cundalee on holidays and a whitefella brought carvings.

Brown Avenue, first time I been drawing, Long Park, Mrs Bates was drawing too (Kantjurie Bates from Warburton), you know, you tell me to try drawing, I was drawing then. Thats a lovely drawing those ones. You fellas have schooling with a pencil, you been writing, you fellas to have a look. Drawing in Long Park (Kalgoorlie), we all sitting down you
remember."

Brown Avenue Kalgoorlie 1992
"Draw a wati (man) - weado - (I cannot) - have a go - I don't know - make him a tummy - put some legs on."

Pantjiti Mary McLean made her first drawings whitefella way during the warta Kutju Healthways Street Art project in Kalgoorlie in 1992. Previous to that imagery of tracks, emus, trees and patterning lines was burned into carved artifacts using heated loops of fencing wire which she was making to sell.

During the 1980's she had commenced dot painting and for a while as her people and animals imagery developed dots and all were contained in each single work. Then as she was sorting out how to construct people sometimes heads only were done, or trees and people were one configuration.

Trees, goannas, emus, birds, dogs, footprints, snakes all tumbled into being one after another. She moved from dots and tracks to painterly drawings within months.

Her first exhibition (Fremantle Arts Centre 1993) contained two very large paintings on paper, these were as much drawings as paintings (collection L Foley and AGNSW). In that same year she commenced her first drawing book and from then on pencil or pen drawing became part of her daily practice. If there is a drawing implement in sight, no matter where, Mary McLean will make an image. Directly onto the dashboard of a car, into the fly pages of picture books, on used greeting cards, fragments of cardboard, tiny pieces of paper and gradually into a unique collection of drawing books. She has been drawing almost as if in a continuous line since that time.

The act of using a pencil is a recent experience for her thus the drawn line will sometimes be covered with another over and over, hardly noticeable for each layer as if it is reiterated in her memory through this process rather than enhancing the visible.

As she says, "You fellas had schooling, you learned writing, I don't know pencils". Despite this there is often great elegance to her marks. Life is revealed in intricate and humourous stories. People with certain expressions and stances will be mimicked whilst explaining a drawing. Birds and animals are often interacting with people. A crow alighting from someone's head, a dog jumping up to its boss, birds showing their chicks how to fly, a dead animal being devoured by dingoes, birds eating "worms", kids playing, waterholes and creeks and her land unfurled.
Common incidents of daily life drawn through curtains of time.

Occassionally Pantjiti Mary McLean will announce that she does not know how to draw perhaps a camel (kamelpa), a cocky (kakalala), a bilby (ninu) and then there is a slow process of extending the line to satisfy the idea, sometimes she back tracks or becomes disdainful of what appears but invariably the procedure ends with a great shout of laughter at the visible outcome.

Her characteristic human figures, an ovoid with the face within, spindly arms with huge fingers and short legs are similar to drawings from Papunya Tula in the Western Desert. Sitting with her when she drew her first figure I was fascinated when the eyes and mouth were placed on the torso, then the legs and arms as straight lines extended down. She asked me if that was "allright?", and we both laughed.

The series of drawings done for the"Mustering" project showed camp life when Pantjiti Mary McLean was a gun horsewoman on sheep stations of the Northern and Eastern Goldfields. Drovers and their dogs in clouds of dust, the camp cook-up at days end, the cheeky young whitefella, with a fag hanging from his lips, horses rounding the stock. These paperwork's must be one of the few documentation's ever by an Aboriginal artist who participated in the grand flowering of that region into huge sheep stations in the 2 (these drawings are currently on display at AGWA).

Dr Pantjiti Mary McLean, recognised as a colourful lively painter is also a fine and energetic draughtsman who draws continuously for the pure pleasure of it. Her culminated drawings are a fantastic realisation of that and the life of an Aboriginal woman who spans from the tradition of her culture to an urban life as a contemporary artist.

Nalda Searles
Perth. July 2001


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The Art Of Place
The Fifth National Indigenous Heritage Art Awards
31 July - 9 September 2001

ARt of PLace install
The Art of Place, installation view, JCG, 2001

Works by artists who have drawn inspiration from Western Australia's vast landscapes feature in this exhibition which focuses on the importance and significance of place in Indigenous heritage.

Announcing the final venue for the Australian Heritage Commission's national travelling exhibition, Art of Place, Commission Chairman, Peter King said,

"This is a unique Award and exhibition in Australia. Artists are asked to submit an artwork showing a heritage place of significance to them, along with a written personal statement. For the first time in this Award's eight-year history, we created a reconciliation category that enabled non-Indigenous artists to enter the Award, provided they did so in partnership with an Indigenous artist."

Mr King said the exhibition would give people in Western Australia a rare opportunity to see some of the best artworks being produced by Indigenous artists from around Australia.

"We mount this award to create a wider appreciation of Indigenous heritage," Mr King said. "Many of the places that artists in this exhibition depict are from the Western Australian region and include meeting places, landscapes and Dreamtime creation stories."

Artist Linda Syddick Napaltjarri's depiction of Western Australia's Lake Mackay region was a joint runner-up in the Award and will feature in the Perth exhibition. The works of Western Australian artists Jody Broun, Jimmy Pike, Long Tom Tjapanangka, Walala Tjapatljarri, Patrick Mung Mung, Mulgra Jimmy Nerrimah, Elizabeth Nyumi, Charlie Ward Tjakamarra and Alice Nampitjinpa are also among the 45 entries exhibited.
The contemporary artists featured in this exhibition have utilised a wide range of materials to develop a sense of connection, and conveyance of place within their work. These range from locally derived, natural materials such as bark, ochres and shells, to aluminium cans and light-boxes. The work ranges from the traditional practice and methodology of bark painting and basket-weaving to contemporary textiles, printmaking and installation.

The centrepiece of the exhibition is the winner of the $20,000 Open Award, an intricate two metre bark by Wolpa Wanambi from Yirrkala on the Gove Peninsula. Wanambi's delicate bark painting Yanawal depicts the Dreamtime story of Wuyal, who, in making the land, created the Gurka'wuy River on Trial Bay in the Northern Territory. The exhibition will also include works by prominent Indigenous artists such as Ian Abdulla, Gloria Petyarre, Rosella Namok and H.J. Wedge.

Prominent artist Pantjiti Mary McLean collaborated with Nalda Searles to enter the inaugural reconciliation category. Their work, Born in my Grandmother's Country, was inspired by Mary's recollection of her childhood in Docker River as she traversed the area with Searles.

The staging of Art of Place at the John Curtin Gallery is especially significant at this time due to the concurrent exhibition of works on paper by Dr Pantjiti Mary McLean entitled On Line. Throughout the duration of the exhibition, McLean will be working on-site with the assistance of Nalda Searles in the creation of a new work. This exhibition furthers the collaborative nature of McLean and Searles relationship as artists, and it's title refers to both McLean's intricate line-work as well as her live presence in the gallery space.

The Art of Place travelling exhibition, sponsored by Visions Australia and the Australia Council for the Arts, will be open to visitors at the John Curtin Gallery, Curtin University of Technology from 30 July to 9 September 2001. The exhibition has already had successful seasons at the Wagga Wagga Art Gallery, Adelaide's Tandanya Art Gallery, The State Library of NSW, Sydney and the Araluen Centre for Arts and Entertainment, Alice Springs.


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techno craft
the work of Susan Cohn 1980 to 2000
8 June - 8 July 2001

Susan Cohn is a craftsperson, jeweller, metalworker, designer and an ardent modernist. Since 1980 Cohn has been working from her studio in the centre of Melbourne. The subterranean Workshop 3000 is a fascinating world where the artist's sharp and witty intellect mixes with heavy machinery, precision tooling and Techno music.

From 8 June - 8 July 2001, the John Curtin Gallery will present the survey exhibition techno craft: the work of Susan Cohn 1980 to 2000 a National Gallery of Australia Travelling Exhibition. This is the first survey of a contemporary jeweller and metalworker to be mounted by the National Gallery. It will include over 100 works of art, jewellery, tableware and installation pieces as well as a series of large images of Cohn's work by photographer Kate Gollings.

Cohn is one of the intellectual, avant-garde producers of metalwork in Australia. She has produced a large and diverse body of work that engages with modern life. Looking beyond the conventions of precious jewellery, and towards the urban environment, Cohn's work reflects on the modes and mores of contemporary street culture.

Throughout the 1980's and 1990's, Cohn has been refining a set of minimalist forms. These include her signature doughnut bracelets, sleek tableware shapes and the coolest condom holders - often made in non-precious anodised aluminium or steel. The Italian design firm Alessi produces Cohn's Cohncave Bowl and the Cohndom Box.


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NEOGEO
8 June - 15 July 2001

NEOGEO is an exhibition of works based around the theme of geometric abstraction. Featured in the exhibition are works from the Curtin University of Technology Art Collection by artists including John Teschendorf, Theo Koning, Helen Smith and Trevor Vickers. Works have also kindly been loaned for the exhibition by public collections and private lenders including a work by Cathy Blanchflower from the Wesfarmers Collection, a work by Emma Langridge from the Holmes à Court Collection and a work from well known Western Australian artist Jurek Wybraniec. A work has also been created specifically for NEOGEO by Kate McMillan. NEOGEO is a survey of works, predominantly produced within Western Australia, which are influenced by geometric abstraction. In the simplest of terms, these works explore the relationship between shape, colour and experience.


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Appassionata - SALVATORE ZOFREA
Sugar Nights - DEBORAH PAAUWE
Waterfall - ELIZABETH GERTSAKIS
6 April - 27 May 2001

 

sugar nights install
Deborah Paauwe, Sugar Nights, installation view, JCG, 2001

Fiction, fairytales, memories, and nostalgia are interwoven through the John Curtin Gallery's new season of exhibitions, commencing on 6 April 2001. Independent works by three Australian artists, Salvatore Zofrea, Deborah Paauwe and Elizabeth Gertsakis will be installed in the gallery spaces. Each artist though markedly different in their creative approach uses print-based mediums including the woodblock, C-type photograph and photo-etching respectively.

Salvatore Zofrea's series of forty woodblock prints, Appassionata is a meditation upon his family history and personal memories. The works are rendered in black and white from roughly and expressively carved compositions that include his extended family and friends as subjects. These works explore the artist's development and influences as a young boy in Borgia, Italy, representing the simplicity of children's games to complex religious festivals and hard peasant work. His migration to Australia and emotional journey to manhood are realised in dramatic detail through his use of the woodcut.

Deborah Paauwe's work deals with fictions and fairytales only slightly removed from reality. Her subjects are young women, photographed asymmetrically and in the brightly nostalgic colours of fifties sun-dresses, and gingham school uniforms. The images evoke the childhood memories and playful imagination that impact on adult life, and the natural but seductive transition from child to adult, through adolescence. Paauwe's work has progressed through a close alliance with fashion photography, and an investigation of vintage clothing.

Elizabeth Gertsakis' work, Waterfall was initiated by a combination of research, investigation and serendipity by the artist as she rummaged through old, Australian postcards and photographs. Gertsakis found a series of photographs of waterfalls in the Australian landscape characterised by female names, and also a number of photographic portraits of Victorian and Edwardian ladies. The resulting work is an installation that deals with the naturalisation of femininity, and the feminisation of landscapes once declared "terra nullius", using a combination of historical imagery and technological processes.

Artists Deborah Paauwe and Elizabeth Gertsakis will be present at the John Curtin Gallery for the opening on Thursday 5 April at 6pm. Both Deborah Paauwe and Elizabeth Gertsakis will address issues related to their work in a public forum on Sunday 8 April from 1-4pm.

Appassionata and its associated events is presented by the John Curtin Gallery under the patronage of the Consulate of Italy in Western Australia. Appassionata is curated by Edmund Capon, Director Art Gallery of NSW and is a New England Regional Art Museum Travelling Exhibition.
Deborah Paauwe was assisted by Arts SA and the Australia Council in the making of Sugar Nights.


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Waterfall

This work started in the early 1990s on one of my journeys through ephemera. Postcards and photographic material, cheaply printed images for mass consumption and entertainment have always interested me. They are small, inexpensive and popular. They are also made anonymous by the large quantity of their original production; or in the case of 'orphaned' personal photographs - the process of having being thrown away or bought in job lots from deceased estates to eventually end up in markets and op shops.

On one of those scavenging forays I observed that at the turn of the nineteenth century there was a large production of romantic landscape postcards of Australian waterfalls. Many of these waterfalls had been given women's names - St.Mary's Falls, Minnie Ha Ha Falls, Lady Hordern Falls, Adelaide Falls and so on. On the same day I purchased a number of photographic portraits of women from the same period, mostly unidentified.

The waterfall pictures, conjured a sentimental memory of nature, a domesticated accessible version of sublime nature, visited and experienced. Water, rocks, plants and place had been endorsed as the anthropomorphic female, whilst the girls in the portraits had become anonymous beings with no names. My critical and literary imagination, often fascinated by language and the contrariness of stereotypes and their origins, sought fit to reverse the process of naming. Synonyms for the word waterfall kept erupting into a naming process for the female portraits. If so called 'lost nature' or terra nullius could be given western female identity, then 'lost nature' in the form of female beings who'd lost their name in the process of time could be renamed.

Archaic mythologies have paved the way for such a conjunction. Woman as nature and water, as inconstant, unstable process, as an element of fluidity and source is a primitive inheritance; and yet how mortified the Edwardian ladies might be to see the language of nature expressing their identities with the unbridled metaphorical license of nature unbound, unconfined, unrestrained. The piece parodies the strategy of naming and the conceits of understanding femininity as synonymous with nature. Yet the safe domestication of nature is not without amusement as is the sexualization of the sober portrait by use of fecund natural description.

Formally, it was compelling to take the faded, sepia, hand tinted images and the insubstantial paperfold and transform them, metaphose them into steel shadows of the memories of nature and forgotten people. The last female image (far right) is different to the others. She is totally theatrical and posed, sitting in a painted set of 'nature' alongside a waterfall. She is simply identified as fall. The myth of nature and woman is set in its ambiguous religious origins perhaps? Certainly appropriate for the western Christian narrative and the colonial context. Here is a melancholy Eve perhaps, who meditates on an unknown fall. This image pushes the separation between nature and woman into a moral place and takes away the potential autonomy of the other word/identity portraits.

Landscape and its cultural context are inseparable. Landscape and identity are also inseparable, which is why both nationalism and colonialism establishes such a rapaciously possessive link to the land. In a sense them reverse naming of the women takes them away from an owned name and therefore an owned place. If this is the closest I get to make a comment and a piece about Australian landscape then its merit and challenge is its recognition of the stripping away by time and history of identity and therefore of ownership. The investment in the landscape tradition, no matter how beautiful or aestheticized, is a false claim to immortality and identity.

In terms of photography and the technical process of the work, the photo etching into stainless steel is also a kind of double entendre, another reversal to produce the same effect. If anything these monuments to ephemera and loss resemble giant versions of the sentimental Victorian daguerreotype-portrait. A ghostly mirror surface creating a tantalizing three dimensionality and a ceaseless play of tone and movement which brings them close to the idea of water as an imaginative surface. Finally there is the question of modernity, which is inescapable. In this work one meets post-colonialism at the sharp point of minimalism. The latter evacuating art of its content and the former carefully unpicking colonialism of its identity.

Elizabeth Gertsakis
February 2001

Acknowledgements
Thanks to my friends at Acme Platemaking - Ray Devlin (etching), Tony
Barratt (printing) and Ron Winks and Dick Crocker (finishing); also to
Stacey Zass, Gary 'Spook' James, and especially Sigi Gabrie for his
dedication and support.


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Nu...tka...
Stan Douglas
4 February - 25 March 2001

"Almost all of the works, especially the ones that look at specific historical events, address moments when history could have gone one way or another. We live in the residues of such moments and for better or worse, their potential is not spent." Stan Douglas

In Nut·tka· two streams of narrative sequences - one visual, the other aural - animate a pivotal point in North American History: the first encounter between Europeans and the indigenous population of the west coast of Vancouver Island. The disembodied voices of two European explorers drift around a darkened room, as interlaced landscape images weave through each other. Both images and voices exist simultaneously except for six brief moments when the landscapes coalesce and the protagonists speak in unison. Meticulously researched and strikingly realised, the work is deeply layered with observations of social alienation and psychological states.

Presented in conjunction with Nu·tka· is the Nootka Sound Series - a suite of photographic prints that formed the visual research for the video installation.

Coinciding with the exhibition, the John Curtin Gallery presents a public program of lunchtime lectures and related films in the BankWest Theatre. Details of these can be found in the calendar section of the website.

The John Curtin Gallery would like to gratefully acknowledge the assistance of Stan Douglas, courtesy David Zwirner, New York; The National Gallery of Canada, Ottawa and the financial support of the Perth International Arts Festival.


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The Greeting
Bill Viola
4 February - 25 March 2001

"Inspired by a painting of the Visitation (1528-29) by the Italian artist Pontormo, The Greeting is a video image sequence involving the interactions between three women. The figures are in extreme slow motion - an original event of forty-five seconds now unfolds as an elaborate choreography over the course of ten minutes. Unconscious body language and nuances of fleeting glances and gestures become heightened and remain suspended in the viewer's conscious awareness. The precise meaning of the event remains in circulation as the ambiguous, speculative gesture." Bill Viola

Presented in conjunction with the large video installation, The Greeting, is a series of daily screenings of notable works by Bill Viola: Hatsu-Yume (First Dream) (1981) ; I Do Not Know What I Am Like (1986) & Deserts (1994).

The John Curtin Gallery and the Perth International Arts Festival are pleased to present the second in a series of exhibitions featuring the work of Bill Viola, one of the most celebrated artists of the late twentieth century. Presented in conjunction with The Greeting are daily screenings of Hatsu Yume (First Dream) (1981), I Do Not Know What It Is I am Like (1986) and Deserts (1994).

Coinciding with the exhibition, the John Curtin Gallery presents a public program of lunchtime lectures and related films in the BankWest Theatre. Details of these can be found in the calendar section of the website.

The John Curtin Gallery would like to gratefully acknowledge the assistance of Bill Viola and Kira Perov, courtesy Bill Viola Studio, and the financial support of the Perth International Arts Festival.


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Woldendorp in the Pilbara
The Hamersley Iron Collection
Feburary 2001

Official Festival photographer Richard Woldendorp was commissioned by Hamersley Iron to celebrate the commencement of its Yandicoogina mine in 1998. These photographs record the vast, stark beauty of the Pilbara landscape.

Woldendorp's long association with Hamersley began in the 1960s when he was invited to record the establishment of the Mt. Tom Price mine in the heart of the Pilbara. He continues to regularly visit the region to recoed the magic of one of Australia's most unique landscapes.

The photographs in this exhibition are from the Hamersley Iron collection and other sources, and are rarely shown in public.


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