Laurie Nilsen: Birds on a wire - Australian Art Collector
Laurie Nilsen: Birds on a wire - Australian Art Collector
Laurie Nilsen: Birds on a wire - Australian Art Collector
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“Everything I have learnt I have learnt from some<strong>on</strong>e else<br />
and I think you are obligated to pass that knowledge <strong>on</strong><br />
to some<strong>on</strong>e else. It’s interesting doing collaborative<br />
pieces with white <strong>Australian</strong> artists over the years, they<br />
hold everything so tightly to themselves.”<br />
152<br />
First published in <strong>Australian</strong> <strong>Art</strong> <strong>Collector</strong>,<br />
Issue 42 October-December 2009<br />
www.artcollector.net.au<br />
<str<strong>on</strong>g>Laurie</str<strong>on</strong>g> <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g>, Goolburris <strong>on</strong> the Bungil Creek, 2007. Barbed <strong>wire</strong>,<br />
steel, cast aluminium, sand, natural pigments. Winner Wandjuk<br />
Marika 3D Memorial Award (sp<strong>on</strong>sored by Telstra) 24th Telstra<br />
Nati<strong>on</strong>al Aboriginal & Torres Strait Islander <strong>Art</strong> Award 2007.<br />
COURTESY: THE MUSEUM AND ART GALLERY OF THE NORTHERN TERRITORY, DARWIN.<br />
<str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> has numerous hair-raising stories of growing up in the decidedly<br />
racist and redneck Queensland of the 60s and 70s, but they are told with a<br />
wry humour and a surprising lack of bitterness. He tells stories of being<br />
grateful when plods of earth at his feet would explode with 30 shells – if<br />
they were in the ground they weren’t in him.<br />
<str<strong>on</strong>g>Nilsen</str<strong>on</strong>g>’s mother he describes as a “nuggety old bird,” while his father was<br />
Norwegian. They lived <strong>on</strong> a river camp when <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> was a child, hunting,<br />
fishing and scavenging for survival. “It was decided they were going to<br />
move all the river dwellers so they set out to bulldoze all the camps.” They<br />
hadn’t counted <strong>on</strong> <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g>’s mother who told them point blank that this was<br />
her country and they could get stuffed.<br />
While he had dabbled with art since his childhood, it wasn’t until the<br />
mid to late 90s that he became serious about making a statement with his<br />
work. In 1994 he exhibited with Michael Eather at the Experimental <strong>Art</strong><br />
Foundati<strong>on</strong> in Adelaide and the Institute of Modern <strong>Art</strong> in Brisbane. Since<br />
then he has shown every year, around the country and in Kolsterneuberg,<br />
Germany and Sante Fe, USA.<br />
In <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g>’s last entry into the NATSIAA he recreated a traditi<strong>on</strong>al fish trap<br />
in barbed <strong>wire</strong>. “I had a little Johnnie Howard in there,” he says with a<br />
mischievous smile. “I pre-empted what was going to happen. I had no<br />
fucking doubt that we were going to jump into bed with America. New<br />
Zealand refused to sign that ANZUS treaty, I d<strong>on</strong>’t know why we had to. I’ve<br />
always doubted that any<strong>on</strong>e would invade Australia, there’s too many<br />
vested interests here.”<br />
<str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> pulls no punches when he speaks of politics. While Goolburris <strong>on</strong> the<br />
Bungil Creek can be read as a str<strong>on</strong>gly envir<strong>on</strong>mental piece, it could also<br />
reflect the harsh history of persecuti<strong>on</strong> against the black people of<br />
Queensland. White landowners would often barrier water holes from the<br />
indigenous or, as a last resort, pois<strong>on</strong> them.<br />
But <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> is also very much the pragmatist. “I know the farmers need<br />
their water and I know they need their fences to keep the cattle in … I d<strong>on</strong>’t<br />
know what the soluti<strong>on</strong> is.”<br />
Over the years <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g>, both as an artist and as a lecturer in c<strong>on</strong>temporary<br />
<strong>Australian</strong> Indigenous art at Griffith University, has become renowned as a<br />
mentor for younger artists. Painter Christine Christophersen, also showing<br />
in Darwin at the time of the NATSIAA, says she would not have had the<br />
courage to pursue her career without <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g>’s encouragement.<br />
“I think you have a resp<strong>on</strong>sibility as an Aboriginal pers<strong>on</strong> to pass <strong>on</strong> that<br />
knowledge that you have,” he says. “I think that’s the role that we should all<br />
play. We have to be careful not to get caught up in that White cultural<br />
tendency where you think any knowledge you have acquired you hold close<br />
to your chest. Everything I have learnt I have learnt from some<strong>on</strong>e else and<br />
I think you are obligated to pass that knowledge <strong>on</strong> to some<strong>on</strong>e else. It’s<br />
interesting doing collaborative pieces with white <strong>Australian</strong> artists over the<br />
years, they hold everything so tightly to themselves.”<br />
<str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> has worked str<strong>on</strong>gly in collaborati<strong>on</strong> for over 10 years through the<br />
famed Campfire group in Queensland and projects at Fire-Works Gallery in<br />
Brisbane. He has also d<strong>on</strong>e a number of internati<strong>on</strong>al collaborati<strong>on</strong>s, most<br />
notably with a number of Native American artists that he describes as<br />
being the most pleasurable. “Working with other indigenous people around<br />
the world, they are so willing to share their knowledge.”<br />
Regardless of the success of Goolburris <strong>on</strong> the Bungil Creek, the day after the<br />
award cerem<strong>on</strong>ies <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> was keen to get home to keep working <strong>on</strong> a new<br />
series of works. These are essentially illustrative works – <str<strong>on</strong>g>Nilsen</str<strong>on</strong>g> is a<br />
masterful draughtsman – depicting portraits of individual emus. The<br />
results, some of which he has captured <strong>on</strong> his mobile ph<strong>on</strong>e, reveal quirky<br />
and mad profiles of the strange outback birds. These are six by five foot<br />
www.artcollector.net.au 153