'Every Body' Exhibition notes

Meiji period (1868 - 1912) Japan Figure of a wood-gatherer carved ivory, Ht. 24cm., The Mann-Tatlow Collection of Asian Art, gifted 2003, 2003.184

Stephen BENWELL, Statue (head turned), 2015,

earthenware, 29 x 11 x 11cm, Purchased 2016,

2016.011

The vase is an example of my most long standing interest - a ceramic vessel with brush painted design covering the outside surface. I remember that I painted it very quickly

and it just worked. This funnel shaped vase is quite a simple idea, but works well keeping in mind these vases are not really vases - they are to me what a canvas is to a

painter - just something to paint on. The starting point for the figure in the middle is the Venus de Milo. This is how I often begin - taking something from Greek and Roman

antiquity and then 'playing' variations on the motif. The statue is one of a series that began around 2007. They tried to make the ceramic figurine or ornament a bit more

substantial than just a decorative ornament hence my titling them 'statue'. Painting them was always a problem and in this one, in a last attempt to make it work, I quickly

brushed it all over with white slip. In both these pieces you can see what has always been the preoccupation of my work, either for good or bad, which is exploring the middle

ground between fine art and craft. Stephen Benwell, 2017 - 2018

Stephen BIRD, Man Descending a Mountain, 2003, watercolour on paper, 41.5 x 29.5cm, Donated through the Australian Government’s Cultural Gifts Program, 2016,

2016.028

Stephen BIRD, Tall Yellow Man, 2003, stoneware with pigment and glaze, 139 x 30 x 21cm, Donated through the Australian Government’s Cultural Gifts Program, 2016,

2016.070

Charles BLACKMAN, Paddington nights, children and dog, 1967, synthetic polymer paint on paper, 48.0 x 73.0 cm (image) 47.2 x 72.3 cm (sheet), Gift of Dr Ronald Fine,

1979, 1979.001

Arthur Merric Bloomfield BOYD, Narcissus diving into the Shoalhaven, 1977, lithograph on paper, 66.3 x 46.1 cm (image) 80.0 x 57.5 cm (sheet), Purchased with assistance

from the Visual Arts Board of the Australia Council, 1978, 1978.269

Arthur Merric Bloomfield BOYD, Narcissus in a storm, 1977, lithograph on paper, 46.0 x 66.5 cm (image) 56.0 x 79.0 cm (sheet), Gift of John King, 1981, 1981.029

Pat BRASSINGTON, Bloom, 2003, pigment print, 78 x 56 cm, Purchased 2018, 2018.034

Pat BRASSINGTON, Parachute, 2005, pigment print, 82 x 62cm, Purchased 2018, 2018.035

Pat BRASSINGTON, Puff, 2005, pigment print, 84 x 62cm, Purchased 2018, 2018.036

Harold CAZNEAUX, South Coast

Harvesting, 1920s, gelatin silver

photograph, 20.5 x 27 cm, Purchased

2017, 2017.035

A pair to The Toilers, Bega held in

National Library. These are dated 1920s

but appear earlier to me. I have not been

able to ascertain where the dating has

come from yet. Gael Newton Lesley

Lynch’s entry in the Australian Dictionary

of Biography Volume 7, (MUP), 1979

suggests that Harold Caznaeux pictorial

style work began in Sydney in 1907 two

years before he held a one man show at

the NSW Photographic Society. In his

2014 article ‘Proto-Pictorialism: Harold

Cazneaux’s 1904 Holiday Snaps in

Thirroul, Austinmer& Stanwell

Park’[uow.academia.edu/JosephDavis]

south coast historian and photo collector

Joseph Davis has established that the

group of pictures from Harold Cazneaux’s

holiday on the south coast summer of

1904-05 reveal he had already developed

the characteristic naturalistic but picturesque style for which he became renowned. Cazneaux’s south coast images were also his first reproduced and prize winning pictures

in the February and April 1906 issues of the Australasian Photo-Review magazine. Harold Cazneaux arrived in Sydney in 1904 having trained in Hammer & Co Adelaide,

staying with cousins the Peisley family in Paddington with whom he took holidays with them at Thirroul, Austinmer& Stanwell Park. He made small prints of several views of

Thirroul for his home. On one of these was taken at Kiama, it was a self portrait at Kiama Blow Hole which he sent to his fiancée Winifred Hodge in Adelaide in May 1905. It

is a quite daring shot set up by Cazneaux using his own camera but probably triggered by a cousin. It is signed l.r in the image and inscribed with the message that it was

taken on recent holidays and asking what she was doing in June. That was a reference to their upcoming marriage. Once married and in their own home in Riley St, North

Sydney Cazneaux hung panels of framed small prints including several South Coast views. Cazneaux returned to the region on several occasions possibly with the NSW

Photographic Society but also in 1921. He showed a number of prints from these trips in exhibitions. In 1948 Cazneaux had three works included in the International Third

Salon of the Camera Club of Wollongong in 1948. Gael Newton 2017

Roy DALGARNO, Steelworker, Port Kembla, 1947, pen and ink, 42.0 x 33.0 cm, Purchased 1997, 1997.029

Robert DICKERSON, The Steelworker, 1970, lithograph on paper, 29.0 x 45.5 cm (image) 50.0 x 70.3 cm (sheet), Gift of the artist, 1985, 1985.002

Brian DUNLOP, Resting figure 1, pencil on paper, q, Gift of the artist, 1994, 1994.065

Max DUPAIN, Sunbaker, 1936, silver gelatin print, 38.0 x 43.5 cm, Purchased 1999, 1999.021

R. DUS, Ivory circular box, lid with scene after Boucher, 19th Century, 10.5 x 2.8cm, Gift of Bob Sredersas, 1976, 1978.317

John EDWARD, Life, 1977, colour screenprint on paper, 63.5 x 45.5 cm (image) 76.2 x 56.1 cm (sheet), Purchased with assistance from the Visual Arts Board of the Australia

Council 1978, 1978.264

Bert FLUGELMAN, (Seated female figure writing), 1984, brush and ink, wash, gouache on cardboard, 53.2 x 35.4 cm, Gift of Mr Michael Hobbs, 1987, 1987.129

Julie FREEMAN, Mt Kembla and Mt Keira, 2009, woodcut, 45 x 60cm, Gift of the artist 2011 Produced with Thomas Goulder at Duckprint Fine Art Studios, Port Kembla,

2011.034

Donald FRIEND, Omu, 1953, pen and ink, brush and ink, watercolour, brush and coloured inks on cardboard, 49.09 x 35.4cm (image) 50.2 x 36.9 cm (sheet), Gift of Mr and

Mrs E N Millner, 1979, 1979.047

https://www.abc.net.au/news/2016-11-28/donald-friend-our-favourite-paedophile/8053222

Donald FRIEND, Maria, Circa 1945, watercolour, brush and ink on paper mounted on composition board, 48.2 x 33.0 cm (image) 49.7 x 34.3 cm (sheet), Gift of Mr and Mrs

W Parnell, 1985, 1985.006

https://www.abc.net.au/news/2016-11-28/donald-friend-our-favourite-paedophile/8053222

Rosalie GASCOIGNE, Footballers, 1979, recycled wood, metal brackets, newspaper, synthetic polymer paint, metal leaves, copper wire, ceramic found objects, 62.5 x 24.3 x

14.3 cm, Purchased 1981, 1981.001

James GLEESON, Prometheus and the Wanderer: version III, 1960s, oil on wood panel, Triptych: a & c) side panels: 15.0 x 12.6 cm b) central panel: 15.0 x 20.0 cm, Gift of

Bob Sredersas, 1982, 1982.004

Richard GOODWIN, Drawing, Circa 1980, collage of cut and torn paper, graphite on paper, 122.1 x 91.6 cm, Purchased 1980, 1980.014

Brent HARRIS, Swamp #1, 2000, colour aquatint on 2 copper plates, 59.5 x 30.2 cm (image) 79.6 x 49.0 cm

(sheet), Gift of the artist 2008, 2008.015

Brent Harris lives and works in Melbourne, he is a well known Australian painter and printmaker who has

exhibited in solo and group exhibitions nationally and internationally since 1988. In 2008, Harris donated

twelve related 'Swamp' prints Wollongong 1. Did you have any experience or connection to art, artists or

art making in your childhood? No 2. What led you to take up (or to not take up) art education? From the

age of 17 to 22 I was being a carpenter, I was on the job of building an art gallery, through this I meet an

artist who encouraged me to visit the local library and start looking at and reading my way through the art

books there. He encouraged me to read and follow up on anything that caught my attention. Paul Klee was

the first artist I seriously focused on. 3. What drives you to make art? I don’t think I can answer this, art is a

very big part of my life now. Art is my intellectual and emotional focus, I strangely get to question life, my

life, the meaning of things, my relationship to life through my art. 4. Where do you do your work? I have

quite a large studio in Collingwood 5. Do you work certain hours each day or only when you are inspired to

work? I generally work every day, or I get to the studio everyday. Most often by 10 in the morning to about

7 at night. I like Saturday and Sunday afternoons in the studio, this time is generally productive and I listen

to the footy at the same time. When I say I am in the studio almost everyday this sounds a bit wanky, like I

am some kind of pure art machine. It really is more of a habit, but I do love going to and being in the studio.

6. What is the most important idea, issue, dilemma or thing that you want to address in your art? Life and

death. The gloriousness and ridiculousness of life, what the hell is it, WHY. We occupy these bodies, we gain

life experience, and then we have to endure the disintergration of our body, what a crazy set up. And then

death, oblivion, the annihilation of the self, the failure of the ego to sustain meaning. How is that for a

beginning of an idea in art. 7. Do you work from life, or from photographs or from imagination? I don’t

work from photographs, my images are made up, usually through a lot of drawings. There are many

drawing studies for the swamp series, there are also very large black and white paintings that relate to the

series of prints. I also do life drawing, at some point through the year I will have a model in the studio for

a few months, once a week for about 3 hours. I find drawing from the figure informs all my work no matter

how abstract it gets, Swamp in particular is about the body but I think all my work is really. 8. What are the most important influences that have moved you as an artist?

The work of other artists, from history to contemporary 9. What, if anything, do you consistently draw inspiration from? Life and art in life 10. Which is more important to

you, the subject of your work, or the way it is executed? Most often the subject develops as the work proceeds. As with the life drawings above, these are done from one

model over a three hour period. The model changes pose, the drawing goes on and is wiped off, charcoal on paper, and repeated until the subject or a sort of narrative starts

to form, these pile ups of bodies are not preconceived but found in the making. The same is true for the swamp images, developed over many drawings before settling on an

image to be painted or made into a print. 11. How important is audience to your art, do you consider them when creating art? Not really, although I do consider how the

work may sit with the histories of other works by myself and others. I guess I do think of context and the times I am working in, perhaps even thinking ‘what can painting

look like now?’ 12. What do you consider your personal place in society to be, and what does that mean for your art? I don’t think of ‘my’ position really, I think the closest I

get to this is like the last question, perhaps a question of context but I don’t pigeon hole myself.

Brent HARRIS, Swamp #2, 2000, colour aquatint on 2 copper plates, 59.6 x 29.3 cm (image) 79.6 x 49.0 cm (sheet), Gift of the artist 2008, 2008.016






Sue HEALEY, Will Time Tell?, 2006, digital film, 12:30 minutes duration, 12:30 minutes duration, Purchased 2012, 2012.020

Will Time Tell? is an experimental dance film that follows a woman's journey as she explores an alien city in which she is an obvious misfit. Time is manipulated and

transformed around this lone figure, through jump cuts, slow motion and reversals, as s

Will Time Tell?, a film by Sue Healey in collaboration with performers Shona Erskine, Ryuichi Fujimura, Makiko Izu, Mina K awai, Yuka Kobayashi, Norikazu Maeda,

director of photography Mark Pugh, composer Ben Walsh, editor Peter Fletcher; 2006

Bill HENSON, Images from Untitled, 1987-1988, type C photographs, gaffa tape, tacks on marine ply, 240.0 x 180.2 cm, Purchased with assistance from the Wollongong

Gallery Society and the N.S.W. Ministry for the Arts, 1991, 1991.002

In this work Henson brings together photographs taken of and in the city. The image of one woman is repeated which suggests a lack of individuality. The city scape image

at the bottom above which these inhabitants of the city walk, conjures an almost dizzy sense of instability, as if they are floating in the midst of an unreal space.

Jess JOHNSON Simon WARD, Worldweb

Allthing, 2017, Looped Single-channel

High Definition digital video, 4K 60fps

Sound by Andrew Clarke, Purchased

2017, 2017.033

Worldweb Allthing offers a glimpse into the hallucinatory netherworlds of New Zealand artists, Jess Johnson and Simon Ward. In their video the screen becomes a dark

window to a dimensional world, whose activities may be taking place simultaneously to our own. Chaos and cosmos overlap whilst gravity warps and stretches in all

directions. Working from Johnson’s complex hand-drawn images, video artist Ward rebirths her drawn images as chimerical 3D animations. These are mandelas from the

fourth dimension, enabling us to view cellular phenomena through a kaleidoscope, where DNA and software systems become interchangeable.

Anita JOHNSON LARKIN, Memory, 2016, collected objects and cast aluminium, 16.5 x 9 x 9cm, Gift of Wollongong Art Gallery Friends ART Connect Membership, 2016,

2016.069

Lis JOHNSON, Primeval figure, 1988, carved and painted wood, 130.0 x 65.0 x 35.0 cm, Purchased 1995, 1995.022

Richard LARTER, Jest waiting/last seasons GI blues, 1973, synthetic polymer paint on canvas, 184.0 x 109.0 cm (image), Gift of Mr Geoffrey Hassall, 1986, 1986.029

Norman LINDSAY, Suprised, Circa 1936, oil on canvas board, 27.8 x 22.8cm (image) 30.0 x 24.3 cm (sheet), Gift of Bob Sredersas, 1976, 1978.124

I think I chose Surprised because it is so beautifully theatrical, so elegant and such fun - to me it evokes the sounds of Mozart and the sights and sounds of opera and dance

all of which have been very much part of my life, especially since moving to Wollongong from inland NSW.

I am very glad that this painting can be part of this exhibition as I understand it is not often seen.

Norman Lindsay has been a familiar name to me as I grew up with 'The Magic Pudding', - he draws the most glorious cats as well!!

Please enjoy.

Alison Whitecross, People’s Choice Participant 2003

Norman LINDSAY, Beethoven, 1921, etching, 35.7 x 30.5 cm, The George and Nerissa Johnson Memorial Bequest, 1993, 1993.066

Tim MCMONAGLE, When good times turn sour #1, 2006, oil on linen, 77 x 77cm, Gift of the artist 2008, 2008.038

Godfrey MILLER, (untitled), Circa 1950s, pencil, 25.2 x 18.9 cm, Gift of Richard King, 2001, 2001.084

Godfrey MILLER, (untitled), Circa 1950s, pencil, 25.5 x 19.2 cm, Gift of Richard King, 2001, 2001.083

Jean Francois MILLET, Peasants digging, Circa 1855, etching, aquatint on paper, 23.7 x 33.9 cm (image) 31.0 x 41.6 cm (sheet), Gift of Bob Sredersas, 1976, 1978.192

Adelaide PERRY, (Women and children, Sharkey's Beach, Coledale), 1929, oil on board, 34.0 x 44.5 cm, The George and Nerissa Johnson Memorial Bequest, purchased 1994,

1994.054

Perry was a pioneer of modernism in Australia. A foundation member of the Contemporary Art Society, Perry participated in the first exhibition of modern art in Sydney, in

1926. Perry was able to stay and paint at the Austinmer house of John Young, owner of Sydney's Macquarie Galleries. (Women and children, Coledale beach) is a carefully

contrived composition based on a series of curved diagonals. The cool pastel colours contrast with the warm pink, red and earth colours in the foreground, completing the

sense of harmony between the women and children at the beach.

Gloria Tamerre PETYARRE, (untitled) (Awelye), 1993, synthetic polymer paint on canvas, 108.0 x 84.0 cm, Gift of the Edward C Levy Corporation, 1994, 1994.060

PRINCE OF WALES, (Ceremonial Body Paint) (Number 4), 1998, synthetic polymer paint on canvas, 120.0 x 85.0cm, Purchased 1998, 1998.009

REDBACK GRAPHIX Marie MCMAHON, Pay the Rent, (1982), colour screenprint on paper, 67.0 x 45.0 cm (image), 76 x 56cm (sheet), 81 x 64cm (board), Purchased with

assistance from the Visual Arts Board of the Australia Council, 1987, 1987.067

Redback Graphix was established by Michael Callaghan and was based in Wollongong from 1982 - 1985. Working with Gregor Cullen, the studio expanded to include a

number of visiting artists including Marie McMahon.

Michael RILEY, Phyllis Draper, from the series A common place: Moree Murries, 1991, gelatin silver photograph, Gift of Mrs Alison Fine, 1993, 1993.120

Joanne SAAD, Dad, 1995, gelatin silver photograph, 26.0 x 38.5 cm, Purchased with assistance from the NSW Ministry for the Arts, 1996, 1996.047

Joanne SAAD, Friends, 1997,

silver gelatin print, 30.5 x 40.5

cm, Donated through the

Cultural Gifts Program by the

artist, 2009, 2009.063

Greetings from South Beach was

a body of work produced by

Joanne Saad and exhibited at

Wollongong City Gallery as part

of a 12 month residency the

artist/photographer participated

in 1997-1998. Joanne spent 12

months entrenched in the 'car

culture' that congregated on

Weekends around Wollongong's

South Beach strip. Throughout

her residency she became a part

of this very particular sub culture

of car enthusiasts and 'hoons'

learning the idiosyncratic

language, social behaviors and

etiquette that surrounded them.

The exhibition at Wollongong

City Gallery in 1998 still holds the record for the largest opening night crowd in its history with over 600 guests. As a socio-documentary photographer and artist Saad is

fascinated by the diversity and dynamics of the various communities and sub-cultures within the broader community and documents the ebb and flow of life among these

groups. Continued community and political pressure and changing social trends have put pressure on this group of car enthusiasts to the point that they no longer

congregate along this strip of road. Today this series of photographs remains as the only documentary history of this social phenomenon that no longer exists. One of

Wollongong City Gallery's core functions is its engagement with its local and regional community. This function is facilitated through its exhibition, education and public

program and through its art collection. This donation provides the Gallery with not only with an important historical record of a specific period in time for the city and its

people but provides opportunities to explore and discuss a range of issues including youth; community and culture; the development, acceptance and interaction of subcultures

within the broader community; and multiculturalism among others. As a beautifully visualized, thoroughly researched and comprehensive document of this 'subculture'

this donation is an important addition to, and greatly enhances the Gallery's growing collection of works on paper and particularly its collection of photographic

work and material.

Joanne SAAD, Body parts, 1997, silver gelatin print, 41 x 50.5 cm, Donated through the Australian Governments Cultural Gifts Program by the artist, 2009, 2009.082

Joanne SAAD, Dancing Queen, 2005, Metallic print between plexiglass, 90cm x 120cm, Donated through the Australian Government's Cultural Gifts Program by Joanne

Saad, 2012, 2012.035

Martin SHARP, Venus, 1970, collage of cut book illustrations on book illustration, 33.8 x25.0 cm (image) 35.0 x 25.9 cm (sheet), Gift of Dr Ronald Fine, 1981, 1981.008

Garry SHEAD, That Split Second, 1973, oil on canvas, 121.7 x 122.2cm (image), Gift of the Wollongong Art Purchase Committee, 1978. Purchased 1974, 1978.071

Garry SHEAD, Lunch on the Grass, 1975, oil and mixed media on composition board, 76.3 x 111.7 cm (image) 76.3 x 111.7cm (sheet), Gift of Bryan Niland, 1980, 1981.012

Marilyn SMART, Boori, 2002, synthetic polymer paint on canvas, 91.0 x 60.8 cm, Purchased 2002, 2002.029

"Boori" (which means baby) is about me. One of six children and the baby girl, I am the only one who cannot have children. In the painting you can see me lying on my side.

Around me is the womb with its red blood cells, veins and womb wall. In the cells you can see spirits - this is my DNA. Inside the womb there is an egg with sperm swimming

towards it. As you can see, the sperm does not penetrate the egg.

Mally Smart, Nowra 2002

Marilyn SMART, Mother Earth, 2002, synthetic polymer paint on canvas, 101.1 x 75.9 cm, Purchased 2002, 2002.030

"Mother Earth" is about my mum. In her younger life her family travelled up and down the South Coast picking fruit and vegetables. Mum continued this when she had her

own family, so with six children of her own, cousins, aunties and uncles around, there was always fresh fruit and vegetables on the table and extra money in her purse.

Mother Earth not only provides food, she also gives you wisdom and love free of charge - you treat her right and she will look after you.

Mally Smart, Nowra 2002

Barry SMITH, The Sunbakers - Apologies to Max Dupain, 1998, silver gelatin photograph, 20 x 25 cm (image), Purchased 2005, 2005.008

Grace Cossington SMITH, Sea at Thirroul, Circa 1935,

oil on cardboard on composition board, 49.8 x 61.8 cm

(frame) 36 x 47 cm (image), The George and Nerissa

Johnson Memorial Bequest, purchased 2007, 2007.003

'Sea at Thirroul' by Grace Cossington Smith is

Wollongong City Gallery's most significant acquisition

since Eugene von Guerrard's 'View of Lake Illawarra

with Distant Mountains of Kiama' was purchased in

1992. The vibrant painting was purchased with funds

from the George and Nerissa Johnson Memorial

Bequest, which is charged with the important mission

of acquiring works which depict the Illawarra area,

dated to 1935. The Gallery has drawn on this fund to

purchase 140 works since 1992, which form the core of

the Gallery's collection of colonial art. Tracing the

history of settlement in the Illawarra area, the Bequest

works are an important record of the Illawarra's

changing landscape and developing industry. The works also record settler's experiences with the original inhabitants of the area, (the South Coast Aboriginal people) and

the people of the Illawarra engaging with their environment. Dated c.1935, 'Sea at Thirroul' is an exuberant celebration of the life enjoyed by many who have resided within

or visited the South Coast. The inviting sparkling sea has lured many people to the area over the past 180 years. 'Sea at Thirroul' depicts a number of figures who all face the

horizon, leaping and dancing to soak up the tingling rush of the waves and salty sea air. Grace Cossington Smith is one of Australia's most important artists who pioneered

modernism in a career which spanned from 1910 to 1971. "The years from 1926 until the mid-1930s were among the most important in Grace Cossington Smith's artistic

life, when her potential as a painter of colour and light, structure and rhythmic pattern, was realised in work after work. It was as though the previous years of concentrated

effort and inventiveness in drawing and painting had blossomed into her mature vision." Deborah Hart, Senior Curator, Australian Painting and Sculpture, National Gallery of

Australia. In terms of the Gallery's collection, 'Sea at Thirroul' provides a major end to the period outlined by the George and Nerissa Johnson Memorial Bequest. The

collection begins with the carefully drawn engravings and prints by French artists de Sainson and Sabitier who documented South Coast Aboriginal people, then the

meticulous detail of works by colonial artists von Gerrard and Conrad Martens lead to the development of Australian Impressionists with 'At Clifton' by Tom Roberts, painted

in 1898. Works by female artists Sophie Steffanoni and Adelaide Perry move on from the impressionist's style and palette and head towards Grace Cossington Smith's

modern and bright style of painting exemplified in 'Sea at Thirroul'. 'Sea at Thirroul' will be a companion piece to '(Women and Children, Coledale Beach)', 1929 by fellow

developing modernist, Adelaide Perry, and will support many other works held in the Gallery's collection by artists who have been inspired by the Illawarra's coastal

landscape.

Jodi STEWART (BOOTA), Gathering Shells on the South Coast, 1997, synthetic polymer paint on canvas, 89.0 x 59.0 cm, Purchased 1997, 1997.052

As young children we walked many miles to collect shells along the South Coast beaches. This painting is very significant to me, because for many years our family gathered

along the South Coast beaches to collect shells. In this painting you can see many symbols: Grandmothers' hands which guided us in our search for the shells. Also she had a

lot of wisdom and knowledge about the south coastal beaches, also the families that lived here for many years. Sisters in the family who helped gather (shells). Brother that

walked over the shells and got in our way. Shells we picked for many years and still do today. Jodi Boota, Shoalhaven Heads 1997

Arthur STREETON, Venus and Adonis, 1901, oil on canvas, 61.6 x 81.6 cm (frame) 51 x 76.8 cm (image), Gift of Bob Sredersas, 1976, 1978.147

Clare THACKWAY, You,

Me, We, 2016, oil and

acrylic on aluminuim

composite panel, 22.4 x

28.6 x 3cm, Purchased

2017, 2017.002

This series of paintings is

a contemplation of what

is passed down from

generation to generation, mannerisms, traits, or patterns in behaviour; stored in genetics and memory. Following the artist’s maternal lineage, the ten female subjects of

these paintings span four generations, related as great-grandmother, grandmother, mother, aunt, daughter, niece, sister and cousin. Each subject was asked to position

their hands in the same repeated interlocked gestures. Left hand touches right alluding to connectedness, things hidden and shared, with a personal and implied symbolism.

The title of this work draws from concepts in developmental psychology. Saved from birth, implicit memories inform our mental processes in response to interpersonal

experiences. Implicit memory doesn’t bring with it a sense of recollection but surfaces through emotion, impulse, behaviour, perception and bodily sensation. How we make

sense of our upbringing and familial relationships, whether consciously or not, influences our perception of self and how we interact with others. This body of work speaks to

both the specificity and universality of intergenerational ties and the complexities of attachment relationships. Clare Thackway 2016-2017

Clare THACKWAY, Learn to Be, 2017, oil and acrylic on aluminium composite panel, 13.2 x 36.8 x 3cm, Purchased 2017, 2017.003

Clare THACKWAY, Copy II, 2017, oil and acrylic on aluminium composite panel, 15 x 32.7 x 3 cm, Purchased 2017, 2017.004

Clare THACKWAY, Making Sense II, 2017, oil and acrylic on aluminium composite panel, 18 x 30 x 3cm, Purchased 2017, 2017.005

Clare THACKWAY, One, 2017, oil and acrylic on aluminium composite panel, 15 x 15 x 3cm, Purchased 2017, 2017.006

Clare THACKWAY, Great, 2017, oil and acrylic on aluminium composite panel, 24 x 24.9 x 3cm, Purchased 2017, 2017.007

Clare THACKWAY, Passing Time, 2017, oil and acrylic on aluminium composite panel, 16 x 38.4 x 3cm, Purchased 2017, 2017.008

Clare THACKWAY, Same, 2016, oil and acrylic on aluminium composite panel, 25 x 36.8 x 3cm, Purchased 2017, 2017.009

Clare THACKWAY, Throw Back, 2016, oil and acrylic on aluminium composite panel, 18 x 41.6 x 3cm, Purchased 2017, 2017.010

Clare THACKWAY, One Over Other II, 2017, oil and acrylic on aluminium composite panel, 25.8 x 40 x 3cm, Purchased 2017, 2017.011

Suzanne TRUEMAN - SPEECHLEY, Spirit of Queen Mary I, II, III, 2002, porcelain figures mounted on wood, Purchased 2002, 2002.053

The ceramic figure depicts an image of Granny Golden as a free spirited young girl. My Grandmother has told the story that her Grandmother "Queen Mary" was found in

the bush by authorities. They estimated her age at being five or six. The Carpenter family who worked on the Berry Estate at Coolangatta, NSW, then raised her. Suzanne

Trueman-Speechly

Suzanne TRUEMAN - SPEECHLEY, Spirit of Queen Mary II, 2002, porcelain figures mounted on wood, Purchased 2002, 2002.054

The ceramic figure depicts an image of Granny Golden participating in Aboriginal ceremony. Queen Mary was the last fully initiated woman on the South Coast. Suzanne

Trueman-Speechly

Suzanne TRUEMAN - SPEECHLEY, Spirit of Queen Mary III, 2002, porcelain figures mounted on wood, Purchased 2002, 2002.055

The ceramic figure depicts an image of Granny Golden in her later years wearing clothes like the Europeans. My Great Grandmother died in 1930 at approximately age 106.

She is buried on sacred Aboriginal land. In her later years she lived in a small wooden cottage built by my Great Grandfather, William Speechley, situated along the

Corroombong known today as the urrumbene reek area. Granny Golden would row across Jervis Bay from Huskisson regularly, even during her nineties to the Beecroft

Peninsular, the place where she was born, because it meant so much to her. The Beecroft Peninsular was fenced off in 1895 and leased to the Navy by the Government and

used as a bombing range. Suzanne Trueman-Speechly

UNKNOWN, Continental scene of lady and gentleman seated with harp, Late 19th Century, 15 x 21.5 x 23.5cm, Gift of Bob Sredersas, 1976, 1978.291

UNKNOWN, Porcelain box, 1767, 7 x 9.5 x 4cm, Gift of Bob Sredersas, 1976, 1978.316

Ralph Trafford WALKER, (untitled) (two female figures), 1974, pen and ink, 38.3 x 27.6 cm, Gift of Richard King, 2001, 2001.008

John Samuel WATKINS, untitled portrait, synthetic polymer paint on canvas, 179.9 x 168.8 cm, Gift of Dr and Mrs P Elliott, 1979, 1979.111

Broc WEBSTER, Chasing down the wind, 2012, 4 x 5 colour transparency, 68 x 87cm, Purchased 2013, 2013.014

Peter WILDE, His leg at the track from the series Robert's accident, 1970s, pastel, charcoal, released transfer from magazine illustrations, wash on paper, 76.6 x 56.5 cm,

Purchased with assistance from the Visual Arts Board of the Australia Council, 1979, 1979.036

Peter WILDE, Leg from the series Robert's accident, 1979, pastel, released transfer from magazine illustrations, charcoal on paper, 76.6 x 56.5 cm, Purchased with

assistance from the Visual Arts Board of the Australia Council, 1979, 1979.039

'Every Body' Exhibition notes

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