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Julie Gough has previously referred to herself and her art practice as being "a sculptor of stories. My work revisits sites of history and memory often recorded only in text. I rework versions of the past from between the lines, seeking voices and direction in a detective-like search for alternative and visual means of representation. I sculpt as my way to retrieve the forgotten or unspoken narratives of this nation, and to invite the viewer to engage with stories and implications perhaps not otherwise voluntarily approached." The Whispering Sands (Ebb Tide) installation comprises sixteen lifesize portraits pyrographically (hand-burnt) onto 5 mm plywood. These figures were placed in the tidal flats at Eaglehawk Neck, Southern Tasmania during November 1998 in the 'Sculpture by the Sea' Exhibition. The portraits represent British individuals, collectors, who historically and subsequently impacted on Tasmanian Aboriginal people through their accumulation of material culture, stories, anthropological/medical information, human remains, and even Aboriginal children in the names of science, education, history, anthropology and the increase of their own personal status and power. HOME sweet HOME eventuated as a response to Julie's visit to Liverpool in 1999, after walking around the city and noticing references to the great wealth upon which it was founded; the movement of people and materials – slavery, migration and trade. For Julie's more detailed accounts of these and other works link to: Artworks and Stories |
The Whispering Sands (Ebb Tide), 1998 mixed media, dimensions variable photograph courtesy the artist
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