JulieGoughRifleandBoomerang,1993Oiloncanvas,textonacrylic,9Aust.;mbers1240x945x90mmAcquiredPowerhouseMuseum,Sydney

JulieGoughRIFLEANDBOOMERANG,1993Oiloncanvas,textonacrylic,9Aust.;mbers1240x945x90mmCollec;onofthePowerhouseMuseum,Sydney

“RifleandBoomerang”isapiecethroughwhichIsuggestthattheeduca;onsystemisoneplacefromwhichformallysanc;onedracismhasspreadthroughoutsociety.Thetextandimageofthisworkhavebeentakenfromachildren’sreader“RifleandBoomerang”(ages8‐12)andArthurMee’sChildren’sEncyclopaedia(see:aboriginesentry)(circa1938.

BothareprimeexamplesofwhereandhowculturalaZtudeshaveemerged.Theframeofdifferent(coloursandhardness’s)na;ve;mbersinterlinked,surroundingandenclosingtheworksuggestvariousmeanings‐perhapsofAboriginalCommuni;es'solidaritywithin/despitetheadversi;esofthevarioussystemstheyhavehadtonego;ate‐theEduca;on,Mission,Healthetc.

Ihopethispieceisatrigger(bothremindingandwarning)oftherealdangerofpropagandistEduca;onwhenitiscarriedon(asisitsrole)beyondtheschoolgrounds.Designedtoinfiltrateandinfluencesuccessivegenera;ons,theshadowoftheAustralianGovernment’sdespera;ontoproveAboriginalpeopleaninferior,childlikeracerequiringtotalmanipula;onispartofeveryci;zen’sshadowtoday.

JulieGoughPhysiologicalAdapta@ontoCold,1994 MedicalSeries,1994(detail);n,polystyrene,plas;c,stainlesssteel,mercury,acrylic27.0x19.0x15.0cm

JulieGoughHairDifferen@a@on,1994Medicalseries,1994(detail);n,synthe;candhumanhair,wax,stainlesssteel,chrome,acrylic103.0x49.5x35.5cm

JulieGoughToothAvulsion,1994Medicalseries,1994(detail);n,synthe;candplasterteeth,mixedmedia,chrome,acrylic103.0x49.5x28.0cm

JulieGoughMedicalseries(detail),1994FingerprintpaGerning

JulieGoughEyeballWeight,1994Medicalseries,1994(detail);n,plas;c,foundobjects,acrylic30.0x26.0x22.0cm

JulieGoughPhysicalcharacteris@cs‐BodyOdour,1994Medicalseries,1994(detail);n,oil,soap,wax,towelling,acrylic40.0x30.0x8.0cm

JulieGoughEarwaxConsistency,1994Medicalseries,1994(detail)Tin,wax,plas;c,acrylic,mixedmedia5.5x29.5x40.0cmCabinet:89.0x51.0x40.0cm

Julie Gough Brain capacity Medical series, 1994 (detail) Mixed media, variable dimensions

Julie Gough Intelligence Testing - The Porteus Maze Test, 1994 Medical series, 1994 (detail) tin, plastic, sawdust, paint, sawdust, chrome, acrylic 170.0 x 39.5 x 29.5 cm

TheMedicalSeriesare:

[1]IntelligenceTes;ng‐ThePorteusMazeTest,1994;n,plas;c,sawdust,paint,sawdust,chrome,acrylic170.0x39.5x29.5cm“Basedonthe1930santhropologicaltest‐on‐papergiventoIndigenouspeoples(inthiscaseintheArrentepeopleofcentralAustralia)todetermineIQbythespeedonetraversedamazeonpaperbypencil”.

[2]PhysiologicalAdapta;ontoCold,1994 ;n,polystyrene,plas;c,stainlesssteel,mercury,acrylic27.0x19.0x15.0cm“Avisualreconfigura;onoftheresearchofa1950sCzechoslovakianresearchteamwho‘placed’centraldesertAboriginalpeopleinrefrigerated‐meat‐vansovernighttodeterminetheirPhysiologicalAdapta;ontoCold”.

[3]SkullDimensions,1994galvanisediron,soil,gravel,plas;c,bone,chrome,acrylic 114.0x57.0x47.0cm

[4]HairDifferen;a;on,1994;n,synthe;candhumanhair,wax,stainlesssteel,chrome,acrylic103.0x49.5x35.5cm

[5]EyeballWeight,1994;n,plas;c,foundobjects,acrylic30.0x26.0x22.0cm

[6]ToothAvulsion,1994 ;n,synthe;candplasterteeth,mixedmedia,chrome,acrylic103.0x49.5x28.0cm

[7]Physicalcharacteris;cs‐BodyOdour,1994;n,oil,soap,wax,towelling,acrylic40.0x30.0x8.0cm

[8]EarwaxConsistency,1994 Tin,wax,plas;c,acrylic,mixedmedia5.5x29.5x40.0cmCabinet:89.0x51.0x40.0cm

[9]FingerprintPakerning,1994[10]BrainCapacity,1994

MedicalSeries,1994

Tenfoldedandwelded;nandgalvanisediron‘cases’holdingmixedmediafoundsandmadeobjectsandsilkscreenedimagesandtextonthecase‐covers.Thesecasespresentareconfigura;onofofthesupposedscien;fic/westernphysicalevidenceforsupposedracialdifference=inferiority.

ThecasestudiesIsculpturallyworkedweremyaccumula;onsofscien;ficunderstandingsof'iden;ty'ata;mewhenIwasdirectlylearningabouttheposi;onandrepresenta;onofmyextendedIndigenousfamily(andthusmyself),bypeoplebothAboriginalandnon‐AboriginalinTasmania.Icreatedaseriesofpiecesaboutthebody.

Therewasafreedominallowingdifferentpor;onsofthebodytospeakofthewaysinwhichtheyhadbeentestedandprobed.Thisbecameaseriesaboutprocessesofcollec;on.Theomenfamiliarobjectswithinthecasesins;gatedadialoguebetweentheviewerandtheworkpriortothetextsbeingread.Ibegantoseethecarrying‐poten;alwhichconfigura;onsofobjectscouldhold.

Theseworkseachhadtextsfromscien;ficbooksandjournalssilk‐screenedontoperspexwhichcoveredandenclosedtheobjects.Thiswayofassemblingobjectswaspivotaltothefuturedevelopmentofworksincorpora;ngorelimina;ngthewrikenword.

ThisworkwascentraltomyHonourssubmissionandsubsequentlywasexhibitedinPerspecta1995attheArtGalleryofNewSouthWales.

SeriesacquiredbytheTasmanianMuseumandArtGallery,1995

JulieGoughMedicalseries,1994Tencase‐studiesofmedicalandanthropologicalmeasurementsforindica;ngracialdifferenceMixedmedia,variabledimensionsExhibitedPerspecta1994ArtGalleryofNewSouthWales.AcquiredTasmanianMuseumandArtGallery1995

JulieGoughPsycho1960,Julie1965,Luna1970,1995mixedmedia,variabledimensionsCollec;onthear;st

JulieGoughJulie1965,1995suitcase,balsawood,motor,tapedeck,acryliconply,moss,plas;c,wood,rack,stoolCollec;onthear;st

JulieGoughPsycho1960,1995wood,suitcase,chair,motor,moss,acrylicpaintandgraphite.Collec;onthear;st

JulieGoughLuna1970,1995wood,suitcase,pingpongballs,bag,chair,matchs;cks,latexrubber,acrylicpaintCollec;onthear;st

JulieGoughLYINGWITHTHELAND‐1199616photographs,Mantelpiece,fireguard.PreservingjarsofFlour,Tea,Salt,Tobacco,Sugar.

Thisworkiscomposedof16photographsoflongtermMidlands‐Tasmanialandholdersfrommid1810s‐present‐day.Itooktheseimagesmyselfat1995‐96TasmanianRoyalAgriculturalShows,whereIfoundthelandownerswiththeproduce/livestockof“their”lands.

Indexcardsbeneatheachphotoconsecu;velylistresearcheddataoforiginal'interac;ons'betweentheAboriginalpeopleofthoselands(circa1820),withthecurrentland‐occupiersforebears,alongwiththepresent‐dayprize‐winningagriculturalentrant’sdetails.Thepicklingjarscontainthe5maintrade/bribeitemsof:tobacco,flour,tea,saltandsugar.

ThedocumentedhistoryofAboriginal/Seklercontactiswrikenfromtheperspec;veofthelakerandisinflammatoryandaccusatorytowardstheAborigines.One‐sidedfic;onratherthantruth.“Lying”inthisinstancerepresentsdecep;onratherthan‘burial’inanaccompanyingpiecewhichsituatestheAboriginalpeople'sreloca;ontoWybalennacemetaryasaresultofthis'seklement'..

JulieGoughLyingwiththeland,2,1996photographs,wood,;n,jars,tea,sugar,tobacco,flour,saltVariabledimensionsCollec;onthear;st

JulieGoughLyingwiththeland,1,1996photographs,wood,;n,bukons,inkprintoncokon,plaster,lightbulbsVariabledimensionsCollec;onthear;st

JulieGoughMoree‐Gene@cpool,1996Mixedmedia,variabledimensionsCollec;onthear;st

JulieGoughGENETICPOOL‐MOREE,1996Washingmachine,1960smen’sbathers,postcardsshowingswimmingpoolsascentralscenicspotofruraltownships.Variabledimensions

Theelementsinthispieceareintendedtobringtogetheradistancedviewingofthe‘colourbar’policyenforcedinsomeruraltownships’swimmingpoolsinAustraliaun;lthe1960s.Inthemid‐1960sSydneyUniversitystudentsjoinedCharlesPerkinsonabusjourneythroughruralNSWtoprotestthisblatantformofracialdiscrimina;on.Thiseventwhichbroughtworldaken;ontoAustralian inequi;es was named the ‘Freedom Ride’. Although the ‘Freedom Ride’ focused on swimming pools, it was ametaphor for discrimina;on at every level of Australian society. The target was Moree where heated conflict took placebetween ac;vists and locals. The ac;vists finally akained entry for Aboriginal children to the town pool amer ini;al falsepromisesofaccesswererevoked.

Thispiecegainedrealmomentumandinspira;onamerIviewedadocumentarytwoyearsagoaboutthe ‘FreedomRide’.Onelocalprotester,aMoreeresident,recountedastoryexplainingthetown’sfearofallowing Aboriginestoswimamongst‘whites’inthepool;itwas(supers;;ously)believedthatwhitewomencould becomepregnantfrombathingwhereAboriginalmenoryouthshadswum!!Thus,thispiece,withits test‐tubesfilledwithawhitemilkysubstanceandadozenpairsofbathersspinninginapseudo‐scien;ficcentrifugaldisinfec;ng mo;on,issugges;ngthebizarreno;onsanddangerousbeliefswhichstartathome andspreadbetweentownsandbeyond.

JulieGoughBoxingBoys,1995Foundimages,frames,puppets,inkprintofnamesoncokonVariabledimensionsCollec;onthear;st

JulieGoughHumannatureandMaterialculture,1995carpet,bathroomscales,oilon;nVariabledimensionsAcquiredNa;onalGalleryofAustralia

Unknown,1830GovernorArthur’sProclama;ontotheAboriginesVanDiemen’sLand(Imagereproducedinoilpainton;ndiscwithinbathroomscalesinHumannatureandMaterialculture.)

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsoafsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPedagogical(InnerSoul)Pressure,1996(detail)40pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughPEDAGOGICAL(INNERSOUL)PRESSURE199640pairsofused‐schoolshoes(20black/20brown),olds;lts,shoeshinebox,Govt.PhotosofAboriginalchildreninSydney’sLunaParkRotorRideinthe1960s,(Faked)typicalchildbehaviourslides,internallights.

Thispiecedevelopedfromarealisa;onthat therepresenta;onofchildrenandtheirdirectedandessen;allycontrolleddevelopmentfromthe Ins;tu;ons theymustnego;ate (includingSchool, andvariousmedia ‐ televisionandprint) is actuallyquitea sinisterand longtermmanipula;vestate‐approvedexerciseinproducingsafeandbanalci;zens.Thephysicalbodyof thework focuseson images fromaUSGovernmentsetof1970ChildBehaviourKit slides ‐whichdepictchildren invariousstatesof fakery ‐ imita;ng fear,happiness,play,parental interac;onandpain.These imagesareplaced into40 internally lit,andwornpairsofschool‐shoes‐40black/40brown.Thesheermul;tudeof‘staged’enactment'sofwhataresupposedtobethe‘real’experiencesofchildhood,actuallynegateanypossibili;esofthefactualbytherepe;;oususageofthesamechildrenindifferentconfigura;ons.Thus,byatypeofhistoricalinves;ga;onIhavenotbeendupedintobelievingthatthePhotographicisnecessarilythetruth.Similarly,withintheshoealignmentatthecentrepointofthisinstalla;onisfixedashoe‐shine‐box,abovewhichrunsaver;calrowofb/wimagesofAboriginal children (fromaNSWChildren’sHome),whom,during1966hadaday‐out to LunaPark, Sydney ‐where theywerefaithfullyrecordedandphotographicallydocumented‘havingagood;me’bytheHome’sAdministra;on.Thispar;cularsetofimagesofthechildren in the ROTOR ‘ride’ resembles ;me‐lapse photography by the various heights they are shown as ‘pasted’ to the wall by thecentrifugal‐forceoftheride.Thesechildren,inresemblingascien;ficexperimentareactuallymirroringtheiractuallife‐experienceofbeingmanipulatedandcontrolledbytheGovernmentofthatera.Thetwosetsofimagesthusu;liseIns;tu;onallydevelopeddocumentaryformattoconvincethepublicthattheinvented(orpar;al)momentistheAbsoluteandtheActual.

JulieGoughPedagogical(InnerSoul)Pressure,199640pairsofsecondhandschoolshoes,lights,slides,foundphotos,s;lts,shoeshinebox,acryliconwood≈300x450x60cmCollec;onthear;st

JulieGoughBadLanguage,1996Paperbackbooks,wood,plas;ccoatedwire80x170x6cmAcquiredArtGalleryofWesternAustralia

Blackness‐as‐sexual‐proficiencymyth&thePlanta;onasahot‐bedofdesire.Languageandwordsasthespreadersofdis‐ease.56paperbackbooksaboutcolouredwomen(andmen)asobjectsofcap;vedesire.

JulieGoughBadLanguage,1996Paperbackbooks,wood,plas;ccoatedwire80x170x6cmCollec;onoftheArtGalleryofWestAustralia

BrownSugarisa6x10footworkbasedonthetwo‐yearjourneyofmyancestorWoretemoeteyerner,whotravelledfromTasmanianBassStraittomainlandAustraliaandacrosstoRodriguesandMauri;usbetween1825‐1827.Theelementsofchanceandfragmenta;onareintegraltotheworkduetotheinforma;onaboutthejourneyaccidentallysurvivingwithintheindis;nctdiarymusingsofQuakerMissionaries,BackhouseandWalker,whoin1831recordedthat“ShespokealikleFrench...HavingbeentotheIsleofFrance”.FurtherarchivalresearchrevealedaliklemoreincludingthatMauri;ustothisdayprovidesAustraliawithsugar:oncealltypes‐todayonlydemerara.“BrownSugar”hasbeenu;lisedasadescrip;veandderogatorytermforBlackwomenthroughoutWhitehistory.Thework“BrownSugar”developedfromtherealisa;onthat“knowing”acompleteandunabridgedversionofthepastisanimpossibility.No;onsofjourneyinganddiscoveryprovidedthestructureforthepieceandallowforamirroringthema;caxistoexistinthiswork.Thisfluctua;onisbetweentheunplannedlivesandchanceencountersoftheadventurers(whichthestoryrevolvesaround)andthesimilaraccidentalnaturedeterminingwhich“facts”andnamesareretainedforanyfuture,andwhichstoriesbecomeHistory.Differingperspec;vesbetweenthehistoricalrecordandmyownno;ons(atthispointin;me)ofmyancestor’sjourney,hasresultedinaworkthatsuggestsanunfinishedpuzzle‐whichtheviewercaninteractwithandvisualiseonapersonallevel.

“BrownSugar”isasculpturalworksituatedbetweentwomodesofrepresenta;on.Theseelementsarethephysical,intui;veactsofcollec;onandplacementoffamiliarobjectswhichblurs,modifiesandques;onstheini;alarchivalresearchprocessofafactual‐historicalevent.Thefamiliarobjectversusthecogni;veword.Theincongruousnatureoffamiliaritemsfromcirca1950torepresentapar;cularwhaling/sealingvoyagewhichtookplace1825‐27isintendedtodrawandyetunsekletheviewer.AboriginalKitschfemaleface‐plaqueswithintheworkareintendedtoexistasobjectsofuncomfortableinterac;on.20calicodemerara‐sugarfilledbagsareintendedtobethrownbytheviewerthroughthe’portholes,whilstoldropequoitsareprovidedtothrowontoprotrudingdowels.Chanceasamajoroperantofpre‐20thcenturylifeinformsandlinkstheworkbetweeninitsphysicalboard‐gamestructureandresearcheddataladenareas,wheresea‐shan;esprovideasmuchinforma;onasdiariesandmapsandeverydaykitschobjects.

TheTasmanianarchivesholdcorrespondenceaboutthevoyage;howduetopoorweather,thesealersandthefourAboriginalwomenandonechildwerestrandedonRodriguesIsland;withtheGovernmentsofVanDiemen’sLand,Mauri;usandNewSouthWalesdiscussingwhowasgoingtopayfortheirdeporta;onbacktoAustralia‐arrivingbackinLauncestonfourvesselsandtwoyearsamertheoriginaldeparture,withseveralpeoplehavingdiedorjumpedship.Oneaimofthiswork,inreadingbetweenthelinesofhistory,istodeliverthestorynotonlyfromtheviewpointoftheinvisibleOther(howIseemyself),butalsofromtheTwen;ethCenturyOtherwhoalsocannotenvisagetheoriginaleventasitwas,butchoosestoakemptanunderstandingofthevoyageasapictorialchainofthought‐apicturepuzzle.

Julie Gough Brown Sugar, 1995/6 mixed media 180 x 300 x 15 cm Exhibited Tasmanian Museum and Art Gallery, Hobart and 24 Hr Art, Darwin. Collection the artist

JulieGoughMytoolstoday,1997(detail)147kitchentoolsonnailsthrougheyeletsoninkjetprintonfabricofTasmanianMuseumandArtGalleryc.1974220x360x12cmExhibitedAdelaideBiennale1998Collec;onthear;st

JulieGoughMyToolsToday,1996Thisisalargeinkjetprint(3.6x2.2metres)onfabricoftheTasmanianMuseumandArtGallery,Hobart.4”nailspierceeyeletstohold173kitchentools.

ThispieceemergedfromreadingthatmyTasmanianAboriginalancestorsrequiredonlytwenty‐twotoolswhichcomprisedtheiren;resubsistencetoolkit.Historicalwri;ngregardedthisinforma;onasevidenceoftheprimi;veevolu;onarylevelofmypeople.TodaythewestchoosestorecognisethatthisrevealsadeliberateaZtudethatless‐is‐more‐thanenough–asignofbalanceandequilibriumwithone’senvironment.Idecidedtofocusononeins;tu;onwhichpresentssuchknowledgeandtodayre‐presentscorrec;ons‐of‐former‐percep;onsaboutsuchdata‐theTMAG(TasmanianMuseumandArtGallery).IhavecoveredtheimageoftheMuseumwith173toolsbecauseIseethemandtheactoftheirrepe;;onasrepresen;ngbothmyoverwhelmingcompulsiontoascertainwhatishappeningwithinhistoricaldepic;ons,andtoshowmyrecogni;onthatIhavelosttheabilitytosurvivewithaminimaltoolkit–perhapspar;allyduetomyquestforunderstanding….

JulieGoughMytoolstoday,1997147kitchentoolsonnailsthrougheyeletsoninkjetprintonfabricofTasmanianMuseumandArtGalleryc.1974220x360x12cmExhibitedAdelaideBiennale1998Collec;onthear;st

JulieGoughPogography2000‐TheSub‐dividingGames(Toolsforlanddegrada@onvstoolsforlandreclama@on),1997gardentools,pogos;ck,flag,pillows,acrylicpaintsvariabledimensionsCollec;onthear;st

TheTroublewithRolf,1996

Theartwork“TheTroublewithRolf”developedfromthe4thverseofthepopularsong“Tiemekangaroodown,sport”byRolfHarris,1966:“LetmeAbo’sgoloose,Lew,letmeAbo’sgoloose....They’reofnofurtheruse,Lew,soletmeAbo’sgoloose,Altogethernow...”.Irepresentedonemeaningbehindthewordsbyintroducingrural‐elementsofplastercastAboriginalstockmen‘heads’inamusicalnota;onforma;onspelling‐out'the'fencing‐inorout'thathasbeenenforcedontomany'outback'Aboriginalpeople.

The4thverseprobablyreferstothe‘freeing’ofAboriginalstockmen/musterersduringthemid1960swhentheEqualWagesBillwaspassedinAustralia.Previously,Aboriginalworkerswerepaidapikanceorwithfood/tobaccora;ons.Thislegisla;onresultedinthousandsofruralAboriginalpeoplefacingunemploymentandbeingforcedofftheirtradi;onallands(wheretheyhadomenmanagedtocon;nuelivingduetowhite‘landowners’allowingthemtoworkontheseproper;es)Thisforcedreloca;onledtolargenumbersofAboriginalpeoplelivingasdisplacedpersonsontheoutskirtsoftownships,wheremanyremaintothepresent‐day.

ThesongTiemeKangarooDown,SportisatroublesomelyricalarrangementbecauseeachverseexceptfortheFourthhasAustralianFaunaasitsfocus‐Kangaroos,koalas,platypus',etc.However,thefourthverseincludesAboriginesaspartofthe'wildlife'oftheAustralianlandscape,andthenevengoessofarastosuggestthattheycanbe'letloose'‐releasedatthewhimofastockman/bushman‐inferringthatAboriginalpeopleareunderthecontrolofothers.

Yetthissongisofit’sown;me,aswasRolfinthemid1960s.Thissongissupposedlythelastwordsofadyingstockman,andinreques;ngthat‘his’Abo’sbeletlooseasonedyingwish,Rolfcannotbeen;relycas;gated,asheisproposingapseudofreedomforthe‘cap;ves’.Myaiminu;lisinga'found'songand'found'Aboriginalia(kitschplasterwallornamentofanAboriginalstockman)whichIthenreproducedinmul;ple,istoreclaimrepresenta;onsofAboriginalpeopleforourselves.

Ibelievethattheonlywaytoworkwithimagery,text,inferencesthatare'outthere'alreadyperformingtheirintendedrolesinsociety,istoclaimtheseformsofrepresenta;onforourselves,andreusethemsubversively.Ithenredirecttheirpowertodamageandundermine,intonewperforma;veroleswhichcanques;onthepastandredefineourunderstandingofourCountry'spast,presentandpoten;alfuture.

Interes;ngly,Rolfhaschangedthisfourthverseinrecentsheet‐musicreprintsofthissong,andhenolongersingsthefourthverseasitwasoriginallyintendedeither.Thetroubleis,thatlikeEenymeenyminymo...musicandverseareoneofthemostpervasivewaystoenterintothepopularunconscious,anditwillbesome;mebeforethosefamiliarwiththesongcanreplacetheoriginalversionwiththenew.IsensethatRolfwasreflec;nghis;mes,andamajorityofnon‐AboriginalAustraliansmind‐frameinthemid‐six;es,andhavemadethisworkinanefforttorememberthisfraughtstory.

JulieGoughTheTroublewithRolf,1996Wood,plaster,wire,acrylicmedium,vinyl≈240x400cmCollec;onthear;st

Addi;onally,thisworkcanonlyallowfortheresidualsoftheinhabitantstoexist,inkeepingwiththefoundobjectsandwhatofthepacificfounditswaytothe‘old’world‐theshellnecklacesproducedforthetouristmarket,(Thereareabout70shellnecklacesfromthePacificsuspendedbelowthetriptychpain;ngslikeaskirt,theyhangoutfromthewallandcastagreatshadow(Iampar;cularlyinterestedinshadows).Icollectedthemoverabout2yearsinopshopsandmarketsinHobart,andalsofoundafewinopshopsinVictoria.ThefloraldressesarealsoameansbywhichphysicalevidenceofOtherculture’aretransferredbacktoWesternsuburbiatoinhabitaspacewiththetvandencyclopaedia.Thewesternencyclopaediaalsomisrepresentsthesameinforma;onaboutCultureandloca;onalauthen;citythatistransmikedtoandthrough'ownership'ofthesesouveniritems.(See:xii‐inSusanStewart1984OnLongingThesouvenirseeksdistance(theexo;cin;meandspace),butitdoessoinordertotransformandcollapsedistanceintoproximityto,orapproxima;onwith,theself.Thesouvenirthereforecontractstheworldinordertoexpandthepersonal.IconcurwithwhatSusanStewartstatesaboutSouvenirsandunrealityIhaveappliedtheseno;onsinthecrea;onofthiswork.Thesouvenirisomenakachedtoloca;onsandexperiencesthatarenotforsale‐thus,I(andCook'sownar;stsandcollectors,andhisowncollec;on)canonlysuggestthelackoftherealexperience,thesouvenir(nottheplundered'real'artefacts)existtorevealthepointofsepara;onofthetouristfromreal'u;lised'objects.p136Theinstalla;oninitsen;retyisques;oningtruthsandfic;onshistoricalaccountsandremnantac;vi;esthatsurrep;;ouslyinvadethepresentassuspectandomenracistcolonialistbeliefsandac;vi;es.Aparamountthemeinthisworkisthecentralpresenceofthe1970PhoneBookstandingtrialasindica;veofaNa;onalandUnitedComplicitywithCaptainCook’sinvasionandsubsequentterranulliuspolicies.

Opera@onaloha!MagnumasCookinthe@me/spacecon@nuum,1997

Theinstalla;onOpera6onaloha!MagnumasCookinthe6me/spacecon6nuum,1997comprisesarangeoffoundandmadeobjectsThisinstalla;onworkcommencedwiththe‘discovery’ofthefound‐and‐signedpain;ngofMagnumPI(TheHawaiian‐basedDetec;vefromthe1980sTVseries)atGlenorchymarket,Hobartfor$5.00.Mycontribu;ngothertwopain;ngs‘copy’thescenicsurroundsofthe‘original’image.However,withinthespacewhichMagnum’sforminhabitsintheoriginal,Ihavepaintedthesharkfromthemovie“Jaws”rising‐uptodevourMagnum,and,inthefinalrepresenta;onPacificIslanderspaddle‐outtogreet(?)Magnum‐ofwhichheisoblivious.(See:FredricJamesonSignatureofthevisible1990NYRoutledgep26‐27andSlavojZizekinOctoberjournalGrimacesofthereal”).SlavojZizekspeaksatlengthaboutwhatthesharkinJawsrepresents‐hequotesJameson’sideathatthesharkinthefilmrepresentsthethreatoftheThirdWorld!!.

Thephoto‐studyofmyfamilyin1970‐mirrorsthetriptychpain;ngofMagnumPIontheadjacentwall.ThisworkisframedbyseafaringcurtainsateithersideinsteadofthefloraldressessurroundingMagnum.Beneathusarethreeshelves.Twophotographshavecorallampsbeneaththem,ontheseshelveswhilstcentredbeneathusinabiblicaltome‐likemanneristhe1970MelbourneCaptainCookBicentenaryTelephoneBook.Wearecontained/capturedandthereforeexistwithintheframeworkofthisiden;ficatoryandlocatorydevice.Iregardthistextwiththiscoverasafineexampleofcolonialistpropaganda.

InthespacebetweenMagnumandthePacificaelementsisa‘confessionalcorner’‐acurtained‐offareainwhichonecancontemplatethe‘explora;on’and‘possession’ofthe‘new’world.Therearetwoplateshunginthisin;matespace‐Onean'authen;c'Wedgwoodcommemora;ngMakhewFlinderswithhisportrait,andvesselandbirthanddeathdates,theotheraplain'white'ceramicplateIhaddecalledwitha1940sChildren’sAnnualillustra;ondepic;ngtwoBri;shschoolchildreninatropicalhutaskinga‘na;ve’woman:“Luluna,whyareyourpeoplesosullenandantagonis;callofasudden?”‐Thisimageopi;misestheusualmisunderstandingofthetravellerandexplorerforthecustomsandcultureofotherpeople.HenceCaptainCook’sowndemise.

IpaintedasharkasakeyelementoftheMagnumPItriptychworkwithoutconsciouslythinkingtooheavilyonpoten;alreadingsofsharkness.Iamsugges;ngthatthroughMagnum,TVviewers(i.e.asizeableworld‐wideaudience)lastdecadereceivedmostoftheirculturalknowledgeofHawaiiandthePacific,andthatSimilarly,CaptainCookperformedthesameroleofculturalpurveyoranddistor;onisttwocenturiesago.Magnum‐as‐Cookinthisinstanceisablockage‘over’thelandscape,inasenseremoving,byomniscientomikance,thetruevisualsoftheactualinhabitants.Myrepresenta;onofthealterna;veviewingofthis“spacewithintheframe”hasbeenkeptwithinthedubiouskitschtoneoftheoriginal‐thus,thereduc;oninsizeandthereforeorderof‘cast’actuallyfollowstheconceptualvisionoftheoriginaluntracedar;stwhoplacedMagnumattheforefront,thereforecontrollingthe‘bias’ofthepiece.Inworkingwithinthis‘vision’mysarcas;c‐humouristreadingafine‐linefromappearingtosupportwhatIintendtoques;on.

Con6nues…

JulieGoughMagnumasCookintheTime/Spacecon@nuum,1997(detail)mixedmedia,variabledimensionscollec;onthear;st

JulieGoughMagnumasCookintheTime/Spacecon@nuum,1997(detail)mixedmedia,variabledimensionsCollec;onthear;st

JulieGoughMagnumasCookintheTime/Spacecon@nuum,1997mixedmedia,variabledimensionsCollec;onthear;stExhibitedBoomalliAboriginalAr;stsCo‐opera;ve,Sydney,1997

Julie Gough Folklore, 1997 Vintage curtains, Tasmanian oak light box showing image of diorama in Tasmanian Museum and Art Gallery, Hobart 190 x 300 x 15 cm Collection the artist

TheworkFolkloreisalargeTasmanianoaklightboxcontaininganduratransplas;cfilminkjetimageenlargementofoldpostcardofadioramas;llexistentintheTasmanianMuseumandArtGallery.Framingthelightboxareapairof1950scurtainsdepic;nggnomesintheirhabitat.Thisisabriefartstatementaboutthisbizarredioramathatpresentssuchaconstruc;on/fabrica;onthatitisfolklore.Thedioramaisliterallyconstruc;ngthemyththattheTasmanianAboriginalfamilysitsaroundasolitarycampfire.Thisisneitherpastnorpresenttruth.Addi;onally,thesepeoplearebasedonTruganiniandWourredy,whoaretodaynotknowntohavehadachildtogether.

Thisdioramahasinventeditsown;meandplace.ThepeopledepictedwerenotfromtheHobartregionpaintedbehindthem,andpost1803andpostwhitearrivaldogswereincorporatedintoAboriginalTasmanian'slife,onetribeinthenortheasthad100dogs!Thus,ifthedioramaisdepic;ngwhatWhitememoryrecalls,thenthedeliberateomikanceofaorseveraldogsisanotherfic;onorfolklore.

Peopleweretogetherinextendedfamilies,withvaryingtypesoflean‐toshelters,ornoshelter,nearmiddensanddailywastematerialsandnottenta;velystandingalonewatchingthemuseumvisitorcountthethreelastheads.ThecurtainswithpresenteuropeangnomehusbandandgnomewifeinaspookyorangeglowingforestseZngwithredtoadstools.TheyaretheOtherofFolklore‐whichtheTasmanianAborigineshadalsobeendeemedanddoomedtorepresentonceTruganinidied.Thisdeathsentence,thisoneliner,thatthisdioramaportrayswasameanstoeliminatetheun;dysecondcomingofourpeopleviaourancestorslaterbornefromsealersandwhalersandfromstolenchildren‘broughtup’inwhitehomes.Fixedinasupposedlyauthen;cgnomeorunblemished'real'Tasmanianlandscape,voiceless,thegnomesandtheAboriginesuncomfortably'play‐off'eachotherandtheiriden;calcastroles.Inconjunc;onIhopetheyflickerandshudder,thattheydon'tsits;llandquiet,butnowarealivetoreallyshowthefairytaleinten;onsoftheirmakers,notthes;llandsilenteternal'oneness'withsynthe;clandscapes,partners,children,lives,liestheyarebearing.

JulieGoughShadowofthespear,1997(details)Ti‐tree,slipcastceramicswaneggs,pyrographicallyinscribedTasmanianoakstripsvariabledimensionsAcquiredArtGalleryofWesternAustralia

JulieGoughShadowoftheSpear,1996Ti‐ee,slipcastceramiceggs,handburnttextintoTasmanianoak.Variabledimensions

Thisproject’scentralargumentisasfollows:

George Augustus Robinson's account relates a hugely significant moment in Tasmanian, Australian, and my own family's history. GeorgeAugustusRobinsonrecordedtheincidentwhenhepromisedafuturethathecouldnotpossiblyrenderinreality.Thiswasadesperatelietoapeopleequallydesperatetobelieveintheirownsurvival.

Yearslater,MannalargennacutoffhishairaboardshipnorthofSwanIsland,probablyasanactofgrievingwhenhefinallylostallhope.HediedofpneumoniashortlyamerwardsonDecember4,1835onFlindersIsland‐onemonthamerRobinsonhadtransportedhimtoWybalennafrommainlandTasmaniaandfouryearsamerhehadfirstmetandbeguntravellingwithRobinsononhis‘FriendlyMission’.

Thequotedpassageleaptfrompage394of1073pagesofincessantdetailsofmealsandclimatewhichswampedandservedtorenderthisoccurrencelessdis;nctinthebodyofwordswhichhadconsumedandsubsumedit.

This accountwasmade personally potent by ;me spent in the far north east of Tasmania during the genesis of theworkwhich becameShadowoftheSpear(1997).Iwitnessedacrosstheseathesameislandsasdidthepeopleinthestorysevengenera;onsago.Mannalargennaismygreatgreatgreatgreatgrandfather.

Thepowerofthephysicalpresenceofthesite,andtheoverlappingseamsofhistoryconnec;ngthenandnow,becameapparenttomewhenattheloca;on.Irealisedthatamaterialconjunc;onbetweenpastandpresentcanprovidethedialogueandmeansforastory,apparentlysetwithinaclosed‐book,tobereconsideredwithinavisualart‐prac;ce.

Asaconsequence,Imadethematerialsdescribedinthejournalandplacedthemalongsidethewordsfromthat;me.Theyworktogethertospeakofmyawarenessoftheincompletetransac;on,andtheyexpressthechanceforaresolu;ontotakeplacewhenmemoryisreac;vated.

6th August, 1831, Opposite Swan Island, north east Tasmania.

This morning I developed my plans to the chief Mannalargenna and explainedto him the benevolent views of the government towards himself and people.

He cordially acquiesced and expressed his entire approbation of the salutarymeasure, and promised his utmost aid and assistance.

I informed him in the presence of Kickerterpoller that I was commissioned bythe Governor to inform them that, if the natives would desist from their wontedoutrages upon the whites,

they would be allowed to remain in their respective districts and would haveflour, tea and sugar, clothes &c given them; that a good white man would dwellwith them who would take care of them

and would not allow any bad white man to shoot them, and he would go aboutthe bush like myself and they then could hunt. He was much delighted.

The chief and the other natives went to hunt kangaroo: returned with someswan's eggs which the chief presented me as a present from himself - this wasan instance of gratitude seldom met with from the whites.

Robinson, G.A., Friendly Mission: The Tasmanian Journals and Papers (of) GeorgeAugustus Robinson, 1829 - 1834, ed. N.J.B. Plomley, Tasmanian Historical ResearchSociety, Hobart, 1966.

Textaboveplacedonsixpoker‐workedTasmanianOakslatswithintheshadowsofthespears

JulieGoughShadowofthespear,1997Ti‐tree,slipcastceramicswaneggs,pyrographicallyinscribedTasmanianoakstripsvariabledimensionsAcquiredArtGalleryofWesternAustralia

JulieGoughEbbTide(Thewhisperingsands)1998(detail)16pyrographicallyinscribedlifesizeplyfiguresofBri;shpeoplewhocollectedTasmanianAboriginalpeopleandculturalmaterialplacedin;dalflatatEaglehawkNeck,SouthernTasmaniavariabledimensionscollec;onthear;st

JulieGough

Thewhisperingsands(EbbTide),1998

Thisinstalla;oncomprisessixteenlifesizeportraitspyrographically(hand‐burnt)onto5mmplywood.TheseareBri;shindividualswhohistoricallyandsubsequentlyimpactedonTasmanianAboriginalpeople.Thesefigureswereplacedinthe;dalflatsatEaglehawkNeck,SouthernTasmaniaduringNovember1998inthe“SculpturebytheSea”Exhibi;on.

Thesepeoplewerecollectors;theyaccumulatedmaterialculture,stories,humanremains,anthropological/medicalinforma;onandevenAboriginalchildreninthenamesofscience,educa;on,history,anthropologyandtheincreaseoftheirownpersonalstatusandpower.

Idecided(asanexerciseandpar;allyanexorcism)tocollectthesepeoplethemselves(asimages)andreducethemtoanamelessconglomeratemassjustastheyhadenactedonAboriginalTasmanianslastcentury.

Placedinthe;dalflatsfortwoweekslatein1998,thesefiguressubmergedandre‐emergedwiththeac;onofthe;des,the;deenac;ngtheposi;onofmemory.Placedasthoughtheywerewadingintoshore,theyoperatedasaformofmnemonictrigger.Theiremergencefromthewatersuggestedthattheirpresenceanddeedsrestss;llwithinourownmemories.

Thisworkwasaresponsetoawakeningideasaboutourco‐residencywiththepast,andtoques;onsarisingaboutouravoidanceandconsignmentofthepasttoaperipheraldimensioncalled'history'.

JulieGoughEbbTide(Thewhisperingsands)1998(detail)16pyrographicallyinscribedlifesizeplyfiguresofBri;shpeoplewhocollectedTasmanianAboriginalpeopleandculturalmaterialplacedin;dalflatatEaglehawkNeck,SouthernTasmaniavariabledimensionscollec;onthear;st

JulieGoughHOMEsweetHOME,1999,pins,cokon,;mber,soap,variabledimensionsExhibitedattheLiverpoolBiennialofContemporaryArt,England.23rdSeptember‐7thNovember,1999.ThisworkeventuatedasaresponsetomyvisittoLiverpoolinMay1999.WhentheformerBluecoatHospitalwassuggestedasasiteforaworkIbeganwalkingaroundLiverpoolno;cingreferencestothegreatwealthuponwhichthiscitywasfounded;themovementofpeopleandmaterials–slavery,migra;onandtrade.Iini;allybecameengrossedinresearchingthetransporta;onofpeopletoAustralia–convictsandtheforcedmigra;onofchildren.However,Ifoundmyselfdrawn,somewhatunexpectedly,tothechildrenintheBluecoatHospital(orphanage)whostayedbehind.TheLiverpoolArchivesholdsdiversereferencestotheBluecoatHospital,andalsototheRaggedSchoolsandtheKirkdaleHouseofCorrec;onlastcenturyinthiscity.Brieftantalisingglimpsesintoashortlifeofhardwork.ChildrenintheRaggedSchoolinSohoStreet,Liverpool“sortedsennaandpigbristles”whilstchildrenintheBluecoatlatelastcentury“madepins”….TheorphanboysintheBluecoatHospitalwereexpectedtosetsailontheSlaveshipsandTraderswhichwererunbyseveraloftheBluecoatBoardandBenefactorsearlylastcentury.Girlsweretrainedtobedomes;cservants,iftheydefiedthisexpecta;ontheyweren’tprovidedstreetclothestoleavethepremises.Inwanderingthecity,IstoodsearchingthecityscapefromthetopoftheLiverpoolAnglicanCathedralandsawthecemeterybelow.Iwalkeddownthroughthestone‐tunnelledentranceintotheunderworld‐likequarryburial‐groundofselectedinhabitantsofthecitylastcentury.StoneamerstoneinscribedwiththenamesofShipCaptain’sandtheirships,ofdearlybelovedanddepartedyoungchildreneulogisedintermsofpermanentangelicsleep.Inthemidstofrepe;;veno;onsofloveandfamilyIwasstoppedhardinmytracksbythesightofsixstonesinarow,dampandneklefringedtheyunemo;onallynamed‐as‐listsonehundredandtwenty‐twodeadchildrenfromfourLiverpoolOrphanages:TheBluecoatHospital,TheLiverpoolInfantOrphanAsylum,TheLiverpoolFemaleOrphanAsylum,TheLiverpoolBoy’sOrphanAsylum.Ifeltthatthesestonesweretheanswer,thereasonformyextendedwalksinandaroundthecity.Iimaginedthemimmediatelyassompillows,asmakresses,asacomfortthattheyneverhadinreality.IreturnedtotheheadstonesshortlyamerwithahugebundleofcokonfabricandalargegraphiterockfromtheLiverpoolMuseumtorubandtransfertheBluecoatchildrentotheirformersite,andtheotherchildrentoasimilarOrphanagesitetowhichtheyhadalsoexperienced.Thisac;vityoccurredoversixwetandwindydays–withaccompanyingunexpectedvitalmee;ngswithcemeterylocalsandvisitors.AtthispointIdecidedthatsoapshouldalsobeanelementwithinthework.IhadbeentoPortSunlightandseentheinfluenceofLeverontheregion,andtheunacknowledgedoriginofpalmoilasamajoritemwithinthecargoofSlaveships,andthisconnec;onwithBluecoat(yetagain).Lavenderscentedsoapmixu;lisingLeverLUXandlavenderoilwasappliedtothebaseofthepillarinthisinstalla;on.Thisrepresentsboththelackofmotherandhomecomfortsinthesechildren’slives,andvisuallyexpressesthemetaphoricalbarofsoapuponwhichthisbuilding’sfounda;onandframeworkwasbased.UponmyreturntoHobart,TasmaniainlateMayIconstructedsmall“beds”forthesepillow/makresses;thesizeoftheactualtombstones.Mymother,myselfandthreeobsessivelycompulsivewomenworkedcon;nuouslyovertwomothstocompletetheintensivepin‐workrequired.Ibelievedthatthesenamesmustbefilled‐inwithpins–pincushionswithinonlythepin‐headsvisibleasanactofrecogni;onandremembranceofthesechildren’sshortlives;thedotsasaformofpunctua;on–asfull‐stops.Makingthisworkseemedtobeanappropriatelysimilarac;vitytotheendlesslyrepe;;veworkwhichthechildren’s;nyhandsenduredaspin‐makers,andassuchperhapsafiZngacknowledgment.Iini;allywondered,asonelocalLiverpoolman,Ian,ques;oned“Ifpeoplewillsearchforandrecognisetheirownsurnames?”Butthingswereevenclosertohomethanthat–visitor’stotheroombeganspeakingthenamesofthechildrenaloudastheyreadthepillows,invokingtheirpresenceandreturntotheverysitewheretheirnameshadbeentheeverydayover100yearsago.Theyfilledthegapof;mewithvoice.Seventykilogramsofpinslater,andwithenoughstuffingfor90regularpillows–theworkwasensite,thechildrenwerebroughtbackinfromthecoldtotheHomethatwasn’tsosweetforthem…

JulieGoughHOMEsweetHOME,1999(Commissionedinstalla;on,LiverpoolBiennial“TRACE”UK)(detail)graphiterubbingoncokon,pins,;mbervariabledimensions

JulieGoughHOMEsweetHOME,1999(Commissionedinstalla;on,LiverpoolBiennial“TRACE”UK)graphiterubbingoncokon,pins,;mbervariabledimensionsa

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

DrivingBlackHome,2000,16postcardsofBlack,nigger,Na;veplacesaroundTasmanianencounteredduringan1200kmdrivearoundTasmaniain2000,16(10x15cm)postcardscommerciallyprintedfrommypersonalphotographsx100set.Therearefimy‐sixplacesnamesamerBlackpeopleinTasmania,theyinclude:BlackMary’sHill,BlackGeorge’sMarsh,BlackmansLookout,BlackTommy’sHill,BlackfellowsCrossing,BlackPhilsPoint….Thereareseventynine“Black”placesinTasmania,theyinclude:BlackBeach,BlackCreek,BlackGully,BlackMarsh,BlackPinnacle,BlackReef,BlackSugarloaf,BlackSwamp….ThereisoneAboCreekinTasmania.Therearethreeplacesnamed“Nigger”inTasmania:NiggerHead,NiggerheadRockandNiggersFlat.Therearesixteenplacesnamedfor“Na;ves”inTasmania,theyinclude:Na;veHutCreek,Na;veLassLagoon,Na;veTrackTier,Na;vePlains….Theseareonehundredandfimyfourplaces.Butreallytheybecomeonebigplace,theen;reisland,Tasmania.ThisisajourneyofmappingandjoZngtheintersec;onswhichmakeupthisplace’sstoryandhistory.Iseethisbigongoingjourneyasanactofremembering.ItisalsomywayofconsideringanddisclosingtheironythatalthoughouroriginalIndigenousplacenameswereallbuterasedfromtheiroriginalsites;Europeansthenconsistentlywentaboutreinscribingourancestors’presenceontheland.Iproposethatthese‘seklers’recognisedtherightsofoccupancyofAboriginalTasmanians’‐evidencedbytheirrenamingof‘natural’featuresacrosstheen;reislandintheimageofBlack,Na;ve,NiggerandAbo….Theconcep;onofthisartworkdirectlyrelatestomypreviousemploymentwithinParksandWildlife,TasmaniaasanIndigenousInterpreta;onOfficer.Inthisposi;onIhavehadtheopportunitytoseemoreplacesandmeetmorepeoplethaneverbefore.Ihavealsobeenreadingmuchmorethanbetweenthepagesofhistoryorscienceoroldschoolbooks–whichwerethetextsthatformerlyinspiredmuchofmyartprac;ce.Thispostcard/photographicserieshasemergedfromreadingthelandandthoseinterven;onswiththelandthathavestoodoutsidelargelyunques;oned–Signs.Signsinmorewaysthanone,thesearemarkerstowaysofseeingandlabellingplaceinthepastthathaveunavoidablyintersectedwithmypresent.TheseSignshavedemandedthatItakenoteandcollecttheminthisway.Muchofmyworkisaboutcollec;ng,compilingandreconfiguringobjectsofculture.Ineedtogather,shuffleandprodobjectsabout.Myprocessistofindthepointofunease–wherefamiliaritycountersageneraldiscomfortandleavestheworkhoveringbetweenuncertainworlds.Inmyprac;ce,Iassembleacertainnumberofobjects,apar;culargrouping,analmostnormaldelivery–butnotquite…….sothattheapprehensionandcomprehensionofmyworkisn’talwaysimmediatebutrequiresapaceofreadingthatis,initself,linkedtomyowngrowingawarenesswhilstIcreatedthework.Thereareresonancesofotherthingsdrivingthisseries–myownearlydisloca;onfromTasmania.Iwasbornand‘grewup’inStKilda–inanotherstateen;rely….In‘returning’tothelandandthisislandinthisway,Iseethingsafresh,askewandseeminglyunques;onned.TheseareSignswhichseemtobesomethingelseandwhichIwanttoaddress.Latein1998,Imademyown“peoplesigns”–Icollectedsixteen‘colonials’whilstIwaslivinginLondon.BritonswhohadcollectedTasmanianAboriginalpeopleandobjectsofcultureinsomeway.Ipyrographicallyinscribedlifesizeimagesofthesepeopleintoplywoodandplacedthesefiguresinasimulatedseascape.TheywereassembledindoorsinLondonwiththesounds,coloursandsupereightfootageoftheocean.AfilmlooprevealedmethrowingbokleswithmessagesintotheEnglishsea‐noteswhichaskedthatObjectsofCulturebereturnedtotheiroriginalna;onsandpeoples…Justdaysbeforethisexhibi;onopenedIwasaskedifIwantedtopar;cipateinasite‐specificoutdoorexhibi;oninTasmania.Thiswasfate,forthatwaswheretheworkneededtobetocompleteitsownjourney.Ipostedthesewooden‘portraits’toTasmania,andfollowedthemhome.Titled“TheWhisperingSands(EbbTide)”andplacedonstakesintheTidalFlatsatEaglehawkNeck,TasmanPeninsula,theywererevealedandconcealedbytheac;onsofthe;des.Some;mescompletelyhiddenandother;mesexposeddowntothesands,theirmetalpoststructuresdefinedtheseas“peoplesigns”.Thesefiguresbecamememorypersonifiedastheirrelentlesspresence/absencereflectedtheongoing,coverteffectstheirac;onshavehadonourculture.Inthisseries“DrivingBlackHome”,Ihaven’thadtodoanythingbutbethere‐andrecordthereal….andrecognisethattruthisstrangerthanfic;on…

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,2001(detail)14postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughDrivingBlackHome,200114postcards,each10x15cm100boxedsetsExhibitedPacificBiennale,Noumea,2001andArtGalleryofNSW,2002

JulieGoughStand,2001;‐tree,lamp,wood,rope8x8x8m

TeaTreeroomconstructedonandinstalledonahilladjacenttotheMidlandsHighwayonLovelyBanksfarmduringtheinaugural10DaysontheIslandFes;val2001.Thisteatreeroomhadalampperpetuallylitfortheen;re10daysand10nightsoftheFes;valinvigil/memoryoftheoriginalAboriginalinhabitantsofthatcountryandtowhatthathillhas‘seen’over;me.

Julie Gough Stand, 2001 (detail) Ti-tree, gas lamp 8 x 8 x 7 ft Installation for ten days and ten nights on a hill on Midlands Highway, Lovely Banks, Tasmania containing ever lit lamp.

JulieGoughLeeawuleena,2001LakedrimwoodandeucalyptbranchVariabledimensionsCollec;onoftheNa;onalGalleryofVictoria

Leeawuleena,2001LakedrimwoodandeucalpytwoodVariabledimensions

Thisworkwascreatedbetweentwoplaces.Leeawuleena(LakeStClair)inCentralTasmaniaandEddystonePoint,NorthEastTasmania.ThisworkistheresultofstayingatLeeawuleenainCentralTasmaniawiththreeTasmanianAboriginalar;stswhowerecrea;ngfibreartworkduringtheirresidencyprogramatthelake.IwasdrawntotheLakeshoreandwasmostastonishedbythewater’sac;onofconstantlywashingup,cas;ngout,theseformsthatstronglyresembledtheheadsofancientbirds.Birdshavealwaysfollowedme,andseemtospeaktomeinunexpectedloca;ons.Igatheredthesesilent,boneliketwigsandputaheadtoeachbody.SeveralwerecollectedwholeneedingnoFrankensteinianaken;onsofmatchingheadwithbody.Theybecameenlivenedandsurroundedthehut’sverandahwallwherewestayed,theycreatedshadowandwatchedus.Itseemedtheycamethrough;me,throughthewatersanddecisionsofthelaketowashthemtonearwherewestayed.Somethingoftheessenceofhowthingswerebeyondmyhandsandyetcameintomyhandsisthemysteryorlanguageofthiswork.IhaveplacedthemwalkingormarchingupagumtreebranchinprocessionasthatishowtheyseemedtoarriveintomyperipheralvisionasIwalkedthelakeshore.Theynowmarchupandalmostoutofagalleryspace,thelogholdstheminwaxfilledcavi;es,waxwhichdrippedlikebirddroppings.Thesecreature’smovementfromfloortowallissugges;veofafurtherplace,aworldbeneaththefloorandamerthewall–fromwheretheyemanatefromandmaydisappearto.Idonotthinktheyareofthis;me,thisworld,butmanifesta;onsofanotherthatbrieflyspoketome.

TimeCapsules(biGerpills),2001Rocks,cuklefishbone

Thisworkcameaboutinanaturalalmosteffortlesswaythatfeltlikeagim.IwassiZngonthebeachnearEddystonelighthouseandpickedupapieceofcuklefishboneandhadaurgetocarveit.Ifoundmypocketknifeandreturnedtothebeachandthereonthespotbeganmakingsmallpillsincapsuleform.Therewasnoreasonformakingtheseforms,theyjuststar;ngbeingmadeinarapidsuccessionun;lIhadalargehandful.ItoccurredtomewhatIwasmakingatthatpointwasanythingthatcouldtakemefurtherintobeingofthatplace.The;tlecameimmediatelyalsoatthatpoint,TimeCapsules(bikerpills),becauseIhadbeenmusingandmakingotherworksabouttranspor;ngmyselfbackin;metothesameplacehundredsofyearsago.Iimmediatelycalledthembikerpills,

becauseIdon’tthinkthatIwouldhavesurvivedlongorenjoyedwhatIfound.

Julie Gough Time capsules (bitter pills), 2001 carved cuttlefish, stones, 15 x 8 x 7 cm Private collection

NightSkyJourney,2001Rocks,bullkelpVariabledimensions

Nightskyjourneyisoneartworkconsis;ngoftwoelements–rocksandkelp.Theirmaterialsareascrucialasthe;mberwhichformsthework“Leeawuleena”.Rockshavealwaysfascinatedme,Ifirsttookthisinterestintofurtherstudiesandcompletedanarchaeologydegree,butthatwasn’twhatIwaslookingforandIfoundmyselfeventuallymakingart.WhenIseeanoutcroporasinglesharp‐edgedstoneIbecomeexcitedwiththoughtsoftoolsandtheirac;vi;es.WhenIseeroadworksIstopbecausethereisthepromiseoffreshsharpstonesemergingintodayforthefirst;me,readyformetousewithoutdamagingexis;ngAboriginaltoolsorquarrysites.Afreshslatewithinahistoryladenwithmaterialcultureandheritagetoreworkandreconsiderthroughart.So,onahillinthemiddleof2001onahighwayincentralTasmaniaIstoppedwithsomesacksandcollectedlargelumpsoffantas;callysharpbasalt‐likerockthrownoutofahillsidebydozerswideningtheroad.Iknewthattheywouldbecomethiswork“Nightskyjourney”.Iwantedtomakearock‐climbing‐wallofpseudoar;facts,stonethathadbeenreworked,newlyedged,changedofsurfacetocarrythisstoryofnewwaystocarrycultureintothefuture.Atravelingstory,amappingofjourneyabout;meandinnerspaceratherthanareallocality.TheembraceoftheoldwithinthenewiswhatIwastryingtoconsiderwithinthiswork.Isawthatclimbingwasanimportantmetaphorfortravelsfrompastintopresentandintofutureinalltheworksintheexhibi;on”Heartland”atGalleryGabriellePizziinSeptember2001.Stringsofshellsascendupwards,climbingropesofferanotherescape,thetwiglikecreaturesof“Leeawuleena”movesteadilyuptheir;mberescaperoute,eventhecuklefishtablets“TimeCapsules”promiseanescapefromthisworld.AlltheworkswereaboutJourneyswithdifferentmaterialstospeakof;meandtransforma;onofobjectsintoartandmergingofhistory,myth,memory.Theuseofmanyrawnaturalelementsinthisexhibi;on–kelp,shell,string,wood,;mber,rocks–wasmywayofreducingthingstooriginalingredients,substance,makerfromwhichwecameandwillreturn.ItooktherockstothecoastinNorthEastTasmania,Tebrikunna,andworkedwiththestonesdayamerday.Reverbera;ons,theysangastheyhiteachotherandcastflakesacrossthesandygrassuponwhichIworked.Slowlythisartworktookform.Isawindividuals‐bigandsmallrocksemerge.Isawwhichwaytheywouldgoonthewall,Isawthatthiswouldbeanightsky,aconstella;on.AsIlaythereinthenorthbydarkIlookedupatthenightskyandreflectedaboutitschangesthrough;me,abouthownowasatellitepunctuatesmythoughtsmoreomenthanafallingstardidformypeopleinthepast.Ithoughtabouthowwewerecreatedfromthestars,theMoineeancestralcrea;onstoryofourpeople,andinthiswaytheworkfeltrightformetocon;nuemaking.Ialsothoughtabouttoolsandtoolkitsandhowitwastousethematerialsoftradi;onalculturetobemytoolsofstorytellingtoday,andIlikedthefluidityandcon;nuityofthat.IwonderedaboutwhattheOldPeoplewouldthinkofmyuseofgoodstonetojustbelookedatratherthancuZng,cleaning,scraping,hackingattreestoprovidenotchestoclimbamerpossums,oredgingwoodens;ckstomakechiselsforleveringshellfishoffrocks.Whatfollytheywouldsurelysay!Iwalkedtheseashorebymorning,Itooklimpetsoffrockstoeatandcollectedtherightkelptomaketheshoes.Imadetheshoesbythefireatnight,whereIthenhungthemfilledwithteatreebarksotheywouldn’tshrinktoomuchanddrymalformed.Theseshoesarethestoryofmytryingtofindmywayinthenightanddayofmymind,myinnerself,today.Wan;ngtoliveuptomyself,myancestry,mypoten;al,tryingtorespectthepastandyetfindmyownwayoutofitintotheunknownfuture.Ifeelthatworkingbyhandsointensivelywithplants,rocks,shells,kelp,woodhasgivenmemuchmoreinnerstrengthandunderstandingofmyownpeoplethananyotherworkIhavemade.Iamverygladsomethingdirectedmetocreatethiswayatthis;me.

JulieGoughNightskyjoumey,2001(detail)knappedrocks,kelpclimbingshoesvariabledimensionsCollec;onoftheNa;onalGalleryofVictoria

JulieGoughNightskyjoumey,2001knappedrocks,kelpclimbingshoesvariabledimensionsCollec;onoftheNa;onalGalleryofVictoria

Julie Gough Chase, 2001 Ti-tree sticks, jute, cotton, steel Approx. 300 x 240 x 300 cm Site specific installation commissioned for nineteenth century gallery in National Gallery of Victoria. Installed October 2002 - July 2004 Collection of the National Gallery of Victoria

Thework“ImperialLeather”1995addressesno;onsof:Imperialism,cleanliness/cleansing,whitening,placement,lossofself,iden;ty,policiesofrenderingindis;nct.

The;tleissugges;veofthesoap‐brandnameandassocia;veconnota;onsoffamiliarityduetothecurrentavailabilityoftheproduct(onepremiseofthepieceincludesitsimmediacy)andthe;tlealsoconveysno;onsof‘imperial’invasionalongside‘leather’whichsuggestswhipping,punishmentandcontrol.The'heads'arewax,castfromanoriginalaluminium'posi;ve'ofthekitschplaster'Aboriginalboy''head'commonlysuspendedinAustralianloungeroomwallsinthe1950s.

Thelayoutofmathema;calregularityinthepiecespeaksoforder,controlandcontainmentoverAboriginalpeopleasrepresentedonthepanel.Powerisheldbythosewhoseflagisthecontrolmechanism.Thecross‐mo;falsoresemblesatarget,whilstthehangingandpinningaspectrelatestotheexplora;onandlabellingofthe‘new’worldsandtheirfloraandfauna.

Thesenseoforderandobsessivenessthroughrepe;;oninthisworkrepresentswesternfearoftheOtherandtheUnknownwhichtheBri;shcarriedwiththeirflagtoAustralia.ThisfearwaschannelledintostateandfederalcontrolmechanismsthroughdisplacementofIndigenouspeoplesintostateorchurch‐operated“Homes”withoutfamilies,whenmanyoftheBri;shnewcomershadarrivedwithouttheirownfamilies.Removalandre‐organisa;onwaspartofaongoinggoalimposedonIndigenousAustralians‐whichwasforAboriginalpeopletolosetheiroriginaliden;;es,tobewhitewashed,andthussubsequentlyembraceImperial/Colonialiden;tyorthe“flag”.

Julie Gough Imperial Leather, 1994 Cotton, wax, masonite 149 x 204 x 15 cm Collection of the National Gallery of Victoria

ChaseCreatedSeptember2001,InstalledNGVAustraliaOctober2002‐July2004

“Chase”isaboutterror,flight,thisistheunspokenspaceandplacecalledAustralia.TerrorNullius.Nothingistherebuteverythingfeared.Thisiswhatweinhabitinthenight,thepause,thegapbetweenthenandtomorrow.ThisworkisastoryoftheunfinishedbusinessbetweenblackandwhiteAustralia.Iwantedtomakesomethingsimpleinmaterialitytocasttheonedimensionalnatureofaddressed,ins;tu;onalhistoryoutfromtheprotec;onofthegallerywalls.Iwishedtoallowsomethingthatisquietly,intangibly,ever‐presentinthis‘na;on’totakeform.Thisworkisanakempttoconveythepervasiveknowledgeofawronglycommencedna;onalstorythatcannotberewriken‐onethatisbeyondspokenorwrikenlanguage,butexistsasgripping,knowingfeeling.

Inpresen;ngaworkasacommentarybetweenthe1901Federa;onpain;ngE.Phillips‐Fox“TheLandingofCaptainCook”andthe1994work“ImperialLeather”Ifelttherewasonlythespacebetweenthem,thatsilentspaceweallinterminablyinhabitinwhichtowork.Idon’tbelievethatAustraliahaslembehindthetwoaforemen;onedstoriesbutiss;llenmeshedintheirdialoguesofinvasion,controlandsilencings.“Chase”isavisualreminderofwhatwewanttoforgetbuthaven’tfaceditinordertolayittorest:ourcollec;ve,overlappingpastsandcomplici;es.Ongoingbecausewedon’tperhapshavethelanguagetodealwithit.Inthisinstalla;onIreferenceseveralvisualelementsfromboththe1901and1994worksfromwhichIhavecreatedthisnewwork:Theseelementsinclude:‐ThecolourredintheflagofCook’slandingandthecoatofthoseincommandtakingaimtoshootattheAborigines,andtheredfabrictowelingof“ImperialLeather”.‐Mul;pleobjectsasinthewaxheadsalignedacrossthesurfaceoftheBri;shbloodredFlag,andthehandsoftheEuropeansinthepain;ng,alsotheweaponryofthegunsandspears.‐Suspensionintheformsofthehangingwaxheadsandalsointheideaofsuspensionimplyingwai;ngandunfinishedtrauma.‐Theno;onoftheVer;calwhichiscontainedwithinthealignedrowsofwaxheadsin“ImperialLeather”andinthevariousposi;onsoftheriflesandspears,theoarsandmastsoftheboatsandthefiguresandflag‐s;ckintheFoxwork.FromthesevisualtriggersIdecidedtocreatemyversionofthepsychologicalspacethiscountryinhabits.Thistookformasatense,;ghttea‐treeforest.Thekindofforestthatisdarkanddamp,leechriddenandeasytobelostwithin.Thisisasuspendedspace,eery,floa;nginno‐;mebetweenthe1901and1994works.Thisworkisintendedtobeakindofemana;on,auraorpsychicforcebetweenthem.Myvisualiza;onofaplacethathasnotbeennego;atedsuccessfullyandsoremainsourhauntedhouse,ouroutdoorsandindoors,oureverywhere.Theforesthangs,stringsuspendingeachs;ckwithanooseknot.Mul;ples;cksasthemul;pleheadsin“ImperialLeather”andthemul;plespearsandriflesinFox’spain;ng.Theviewfromeithersideof“Chase”transformsandmodifiesthevisibility,thepercep;on,thereadingofboth“ImperialLeather”or“TheLandingofCaptainCook”.Imakethespace,theworldbetweenthemuncannilyvisible.Thestoryisthatwithintheforestisthetraceofapursuit.TornScrapsofcokonflaggingandredtowelingheldwithinitsgraspbeartestamenttoastrugglewithinthisspace,aflightofpassagetookplaceandtookparts,piecesofbothworksintothisotherworldlyconfigura;on.TracesofCaptainCook’spartyandoftheImperialLeatherBri;shFlagwhichholdsthesuspendedheadsofAboriginalBoyornamentsflickerwithinthetea‐tree,theforesthasbornewitnesstothestartofwherewearetoday.Thefabricsareheldfirmthrough;me,weares;llenmeshedinthegraspofthisnarra;ve.WhilstCookisclearlysleep‐walkingacrossFox’scanvas,hishandoutstretchedhisfaceavoidingtheAboriginesawai;ngthelandingparty,Isuggestthattherealityisthatapursuitcamenext,thechronologyofreadingfromlemtorightshowsthattheAboriginescannotbeevaded,theyarethelastthingawai;ngtobeencounteredandyetthiscannothappenwithintheframewhichFoxallowedCookinhiswork.Thatstory‐theresultofCook’slanding,theresultofEuropeanarrivalsdeterminedtofindaterranulliusiscarefullyavoidedbyFoxandofferedby“Chase”–thisisnot“Chased”butanongoingtensionandpresenceinthiscountry.

JulieGoughTransmuta@on,2003(BYUUtahUSAsitespecificinstalla;on)Pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,cokonVariabledimensions

JulieGoughTransmutaIon

BrighamYoungUniversityMuseumofArt,Provo,UtahSept2003‐April2004

Adisturbingcombina;onofmaterialsandspa;alrela;onshipsarethemeansbywhichIgeneratedanunsekledatmosphericspace.Transmuta;onwasalargeinstalla;onthatsimultaneouslyevokedsensa;onsoffamiliarityanduncertainty.Iaminterestedinexploringliminal(in‐between)sitesinmywork.Spacesthatmaybeactual(eg:corridors,airports,carports,shorelines,spacesoftravel/transporta;on)orimagined(eg:myth,folktale,memory,dreams,filmic,television,hypno;cspaces).Transmuta;onhoveredinmaterialityandmeaningbetweenscience,theinexplicable‐andhome‐handicram.Physically,theworkconsistedof33pillows(thesizeofairplanepassengerpillows).Eachpillowwasmadeofwhitecokon(ex.RoyalHobartHospitalsheets)withpostcardimagesofUtahdesertplacesandUtahinsectsdigitallyprinted(faded‐out)ononesurfaceofeachpillow.Thesepillowshadrealandfakehumanhairfringingoneachside.Thesepillowsweresuspendedwithwhitecokonthreadingoneachcornertorisefromjustabovefloorleveltoaheightofapprox.1/4distancefromtheceilingtovisuallypresentasthreestaircasesofatripodstructure.Each‘staircase’consistedof11pillows.Theseflightsof‘steps’triangularlyopposedeachother,tomeetatasphericalspace(gap)ofapprox.3feetatthetop.Asaforemen;oned,thesepillowssuggestedastaircased‘tripod’.Aspotlightshonedownfrom/neartheceilinganddirectedabeamofverybrightlightthroughthespacewherethepillowshoveredaboveaspotlitareaofapproximatelyonemetrespaceonthefloor.Thislightilluminatedanapproximately25cmlengthgolden‘cocoon’,whichwas‘trembling’(duetoaconcealedelectricaldevicefikedinsidethe‘cocoon’andundertheflooring)inthecentreofthelightbeamandwithinthepillowtripodlegs.Ablueandaredelectricalwire(not‘live’)wasalligator‐clippedtoeitherendofthiscocoonandtheseledacrosstotwooldfashionedmedical‐lookingmonitorssiZngsidebysideuponamedical‐looking(Stainlesssteel)stand/trolleyonwheels.OnemonitordepictedanirregularEKGheartbeatreading.Theothermonitorwillshowavideo(repeated)ofthefollowingfootage:(1)slightlyfuzzyb/w(40seconds)footageofsomeone(me)runningtowardthendar;ngawayfromthecamerainalightlyforestedzoneinriversideMelbournewearingapillowcaseovermyhead.Thisfootagewillthencutto(2)melyingontheforestfloorwithmyhairemergingthrough;nyholesinthepillowcase(15seconds),then(3)fuzzytvwaves(8seconds),then(4)b/wdead‐screen(15seconds)thenbackto(1).Adjacenttothesemonitorsstoodahospitalbed‐trolleywithonestainlesssteelside‐arminthedownposi;on.This‘bed’heldamakressandwhitecrinkledsheetsanda‘strange’alteredpillow(altera;ons;lltobedetermined)‐allappearingasthoughsomeone/somethinghasjustgotoffthetrolley…Nearthistrolley,onewallwasheldtransfixedbyaspot‐lit;nysec;onoflacycurtainlacyisstrucksolid–asifcaughtinagustofwindfromanalterna;veuniverse.Thisworkrepresentedsurrealist,forensic,futuris;candalsodomes;cspaces.Itofferedanuncomfortableunifica;onofthepersonalandthecultural,themedicalandthemediaworlds.Theworkintendedtosuggestthatotherrealmsofbeingandunderstandingcoexistonthisplanet.Thiswasnotintendedtobean‘obvious’work–itsmeaningwasintendedtodrimandbecompletelydifferentand‘completed’differently(ie:“understood”differently)byeachviewer.ThemesthatIaminterestedinthatIamobliquelyreferringtointhisworkinclude:*Iden;tyasperceivedby:scienceandsciencefic;on,DNA,medicalandpsychologicaltes;ng.*theworldofdreamsvs.reality:whatistheconsciousandsubconscious?*fearofdifference,changeandpersonalgrowth*theroleofthefamiliarandtheunfamiliarinshapingwhowereare*theunexpected:confron;ngaspaceofuncertainty*naturalandsimulatedworlds*placesofencounter‐andhencethespaceofwitnessnarra;veincrea;ngpersonaltruths/stories/futures*theAlienandtheUFOinpopularculture*Absenceandpresence–tracesandpresencesbeyondtheeveryday*TheAmerlife,rest,sleep,sleepwalking,otherdimensions

JulieGoughTransmuta@on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,cokonvariabledimensions

JulieGoughTransmuta@on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,cokonvariabledimensions

JulieGoughTransmuta@on,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,cokonvariabledimensions

JulieGoughTransmutaIon,2003(BYUUtahUSAcommissionedsitespecificinstalla;on)(detail)pillows,hair,laserprinttransfers,bark,motor,ekgreadingmonitor,dvdrecording,bed,cokonvariabledimensions

Julie Gough Promissory Note ~ Opposite Swan Island, 2005 Tea-tree, timber, string, fur 229 h x 240 w x 130 d cm Flinders University Collection, Adelaide

Promissory note – opposite Swan Island as with Shadow of the Spear takes that same moment and day of a promise later seen to be empty and reworks things present of the place and transaction into visual art : Tea tree, time, memory, light and dark, words burnt into memory and string that binds. My understanding is that Tasmanian Aboriginal people on that day were promised that if they put down their weapons, here taken to mean spears, they would, in return, be able to live and hunt freely in their country ever more. Robinson is making explicit his, and by extension as an employed representative of the British Government, the Official understanding that Tasmanian Aboriginal people clearly recognised and held ownership and rights to their own country. They laid their spears down in surrender as a clear response to this and other such 'promises' in order to regain responsibility for and free movements across their respective lands. In Promissory note – opposite Swan Island tea tree sticks activate story and place from the past into a pointed formation reminiscent of a light. They metaphorically track movement through time of countless unlit firesticks. Awaiting re-ignition these bare bones of traditional means of warmth, light, meals shared and stories told have been essentially extinguished over the past 200 years through the actions of European invasion. The tea tree sticks also resemble a glowing ball of artificial light that emanates today from Swan Island lighthouse. Built in 1842 some years after the events I am referring to, its light powerfully cuts into the dark of the night across my north eastern coastal country today and for me ties past and present together as it sears the skies. The stick of symbolic light is placed geographically in the work at the point on the silhouette of Swan Island where the lighthouse is located in actuality. The tea tree sticks also take the form of a dandelion, symbolically blown by some cultures to make wish come true, as I today often do in reflection of this promise and how it could have been and never was. The winds and the plants and the rocks still hold secrets and lies told to and by people, the loneliness and windswept beauty of my sleeping country is in barren form in this work about the loss in remembering what no longer is. Julie Gough 13 February 2005 Ref 1: Robinson, G.A., Friendly Mission: The Tasmanian Journals and Papers (of) George Augustus Robinson, 1829 - 1834, ed. N.J.B. Plomley, Tasmanian Historical Research Society, Hobart, 1966. Ref 2: Julie Gough, Shadow of the Spear, 1997. Six ti-tree spears, six slip-cast ceramic swans’ eggs, six rows of pyrographically (hand burnt) copperplate text on Tasmanian oak slats placed in the six shadows cast by the spears leaning on the wall. Dimensions 6 x 6 ft, acquired by the Art Gallery of Western Australia.

In 1994 I first made note of those words found on page 394 of 1073 pages in the 1966 mammoth transcription by N.J.B. Plomley of George Augustus Robinson’s journal. In 1996 my first artwork clearly based on the incomplete transaction, our unfinished business : Shadow of the Spear was completed. The words from this diary extract sang strong when I visited the area of that verbal and inscribed promise six generations later to realise that looking across to Swan Island brought much personal anguish about losses and absences. Standing there, alone at that place, also brought vivid clarity about the importance of remembering what has gone before. I realised during the making of Shadow of the Spear that I had a path and task set; that of translating into inviting and approachable visual art forms the written and subsumed histories of cultural invasion, collision and trauma that has plagued Tasmania, Australia and Indigenous peoples everywhere. Four years after Robinson made that promise Mannarlargenna was exiled from his homeland to Flinders Island in Bass Strait - where most Tasmanian Aboriginal people were shipped who survived the first 30 years of invasion. On the journey across, after stopping at Swan Island, Mannarlargenna held a telescope and studied his country with great intent as it grew ever smaller. Mooring next at Green Island Mannarlargenna cut off all his hair, symbolic of great loss. Mannarlargenna died on Flinders Island one month later from what was medically diagnosed as pneumonia.

continues…

Artist’s Statement:

Julie Gough, 2005 Promissory note – opposite Swan Island Tea tree, timber, string, possum fur 229 h x 240 w x 130 d cm

Opposite Swan Island on the north east corner of Tasmania on 6th August 1831 at least one of my ancestors was made a crucial promise by an envoy of the Government that has not been kept… we are waiting…

George Augustus Robinson 6th August 1831: This morning I developed my plans to the chief Mannalargenna and explained to him the benevolent views of the government towards himself and people.

He cordially acquiesced and expressed his entire approbation of the salutary measure, and promised his utmost aid and assistance.

I informed him in the presence of Kickerterpoller that I was commissioned by the Governor to inform them that, if the natives would desist from their wonted outrages upon the whites,

they would be allowed to remain in their respective districts and would have flour, tea and sugar, clothes &c given them;

that a good white man would dwell with them who would take care of them and would not allow any bad white man to shoot them, and he would go about the bush like myself and they then could hunt. He was much delighted.

The chief and the other natives went to hunt kangaroo: returned with some swan's eggs which the chief presented me as a present from himself - this was an instance of gratitude seldom met with from the whites.

continues…

Regeneration, 2005 Local alluvial quartz Approx. 25 x 1.5 metres

Exhibited at: Ware and Tear Andrea and Peter Hylands, Henry St, Chewton Alluvial Goldfields Victoria http://www.andreahylands.com 2 April - 5 May 2005 and ongoing

Julie Gough Transmitting Device, 2005 Lomandra longifolia, limpets 40 x 25 x 25 cm Private collection

Julie Gough Lifebearer, 2005 Beach found pumice, brass wire, driftwood 100 x 60 x 34 cm Collection of National Gallery of Victoria

"Somecommentaryaboutthenecklaceworks:Drib,Seam,LifebearerandRabandTransmicngDeviceinmysoloexhibi@on:Inter@dalatGalleryGabriellePizzi10May–4June2005”JulieGoughMay2005

Iliketothinkaboutwhatitmeansformetomakenecklacesthatarebigger‐than‐me;thatarenotnecessarilybeau;fulandnotclearlynecklaceseither...Iaskisthetradi;onalTasmanianAboriginalshellnecklacetodayacarefullymaintainedsignofculturalcon;nuity,connec;vity,authen;cityandauthorityandifsoisthisdifferenttowhatitrepresented200years+ago?‐myansweristhatIcan'tknowwhatitoncewasandprovidedoutsideofmyown;meandperspec;ve.Myuseofmacro[andmaybefuturemicroscaleworks]areaboutthatnaviga;onofmyselfinmywork=physicallychallengingmyself,myarms,myliming,mybody‐aroundtradi;onalprac;ce,place,materialityandculturalexpecta;onofwhatsomethingisusedfor/issupposedto"DO".

Thesefloa;ngmediumnecklaceformsworkformeaslifePreserversie:opera;ngperhapsasmemoryretainersforpeopleontheedge(theperipheralme‐thewholeinters;;al'bit').Thewoodandthepumicenecklaces‐"drim"and"lifebearer”seemverymuchtomeaboutreturninghome(toTasmania)some;me.TheyaremyevidencetomethatIhaveanemergencymeans‐afacility‐tomakeacramtobringmehomeintheformofanecklace‐amagicalnecklace.IfeelIcan(inmymind'seye)walkintoTownsvillebeachwiththesewrappedaroundmeandfloatintotheseaandwashupbackinNorthEastTasmania.

IfeelthatwhenIamcollec;ngthesematerials‐thatifIlosealmosteverythingofmyself‐eventhepossibilityofaskingforhelptoreturn,IfIcannotar;culatemyneedincogentlanguagetoexplainmyneedtoreturn‐thatIcoulds;ll,ifIcanstaynearabeach‐makethemeansofmyreturn–thesenecklacesoraram...MysenseisthatifIdrownedwiththesearoundmeitwouldbeinthearmsoftheseaandthemakerofallnecklacesandwouldbepeaceful.IwasrescuedoffarockIwasstrandedonoffRodriguesIslandin2002‐amerneardrowning‐Isonearlydrowned‐wasembracedbythedark,warmdrimdownwards‐thatIdon'tfearorques;onthesea'sabilitytodecidewhentotakesomeone.

Thepumicenecklacehascomeoutoflandintofire(volcano)andintowater[sea]tofloatbacktolandandbebuiltintoafloa;ngland‐akindofisland‐thatcouldtakemeaway.Thecoalnecklace(SEAM)isalsoabitelementalinmaterial‐thereisalotofcoalminedupinQLD‐butIamunsurewherethiscoal[coveredwithbarnaclesandothersealife]hascomefrom.IfounditupherenorthofTownsvilleatlowest;delikeblackspotsthatseem/seamatfirsttobeamirageofpoorvision(blackspot)yetannounceapossibilityofhomeandhearthtome‐theyareasourceofwarmthfromfireandinthewatertheyarethefires;ckdousedand"OUT"‐Icollectthemandthinkabouthowmyancestor'sfires;ckshavenotyetbeenen;relyrelitfromflickertofullflamebyus,theirdescendants. continues…

Ifeelafraidtolightmycoalnecklaceatthispointinmylife,IamunsureofthespiritsofthedarkandnightthatIwouldhavetoencountertobeabletowalkproperlyandcrossintothetwoworldsthatIhavetrainedmyselfto;ghtrope'between'.Thecoalnecklace‐theseam‐isliketheweightylifebloodofancestry‐thecoalblackmaterialityoftheearththatIhaven'tanswerednorperhapsrecognisedthecall.Thecoalcomingtomefromtheseaisabitlikearemindertofacethelandandrememberresponsibilitytoallsidesofself‐landandwaters.

Thenecklace‐likeworksoperateasmyimaginingsofhowtomergeandmovemyselfaround(kindoflikewith;meand;de)backtofromwhereIcome.Thenecklacesareelementalwaysofre‐joiningmyselfbacktotradi;onsthatseemlostintheirrecognisablepopularisedmakingsinmyimmediatefamily.Thenecklaceandmul;pleobjectinmyartforms(overadecade)ar;culatemyconnec;ontoaculturethatdidcollect(ands;lldoescollect)tosurvive.Throughrepe;;onandrhythmandstaccatoinmyworkalanguageofunderstandingplaceandbeing‐nessisar;culatedandpresentedtooutsiders.InthiswayIofferviewersawayintoformssuchasnecklaces‐andmaterialsprovidedbynatureimpactonme,seemtourgemetospelloutmyselfthroughthem.

TheTransmiJngDevicerepresents,forme,ameansofsendingmythoughtsbacktomypeople/theoldpeopleandhomelandandalsoitisbyextensionaReceivingDeviceforhearingbackfromhome.Itisanapparatusoftravel/communica;onthrough;meandplace‐whetheractualorprovidingformethesecurityofimaginingpossiblewhatthisdevicepromisestoachieve‐seewebsite(hkp://homes.jcu.edu.au/~jc156215/)‐seework"TimeCapsules(BikerPills)"thatisaworkabouttheallconsuming(literallyinthatartwork)needtotravelbackto;mesofoldpeopletofeelwhatitis/waslike‐tobeTHERE.

ImadeTimeCapsulesintheEddystoneResidencymid2001‐whilstsiZngonbeachandgrabbedacuklefishandsuddenlycarvedapileofthesetabletsasthoughinamanicyettrancelikestate!‐thosepillsevidenced/materialisedthisdesireformyimpossiblereturntopastofmyimagining‐whereIcoulddivedemlyforabalone,climbforpossum,singinlanguagethatcameoutofcountryandsangtrue‐unlikethetonguethatInowspeakthatIsuspectwouldhavemekilledbymyoldpeopleiftheydidn'tseeIwasthem.Wordandvoicewouldn'tsavemeinmycurrentform/manifesta;on(outofman–sealerBriggs)‐onlyac;onandevidenced/traceofrecognisedbehaviourcouldrescuemefromswimdeath.RAFTisaram‐IfeelgreatmakingthingsthatareaboutmovementsandtravelthroughrealandimaginedTIME/SPACEbacktoTasmaniaandtoaplaceinTasmaniaandacommunityofpeopletherewhereIcanbemyselfanditwouldbecalledhome.

Asanar;stIamaoutsiderinmyownculture/s‐alwayslookinginoracrossatpeoples/places/;mesandfiguringthroughartmakingmyresponsestobeingwhereIamandhowordeterminingwhetherIwishtoshowthatplaceIinhabit='me'inrela;ontothatotherplace(mainstreamsociety)orwhetherIreworkculturalmakersfrommyownperspec;ve.

Exhibited in: Cross Currents Linden - St Kilda Centre for Contemporary Art Lola Greeno, Julie Gough, Denise Robinson, Treahna Hamm, Lorraine Northey-Connelly Saturday 2 July - Sunday 7 August 2005

Julie Gough Craft for Floating Home, 2005 Digital photograph on paper 80 x 100 cm

Julie Gough Craft for floating home (driftwood, pumice), 2005 Pumice, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Julie Gough Craft for floating home (coconuts), 2005 Coconuts, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Julie Gough Craft for floating home (pumice, driftwood, cuttlefish, coconuts), 2005 Coconuts, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Craft for floating home (driftwood), 2005 Driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Craft for floating home (cuttlefish), 2005 Cuttlefish, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Craft for floating home (pumice), 2005 Pumice, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Craft for floating home (coconuts), 2005 Coconuts, driftwood, rope, plastic, timber, shells c.40 x 80 x 150 cm (h x w x d)

Craft for floating home (coconuts), 2005 Digital Print

ARTIST'S STATEMENT - Julie Gough Craft for floating home are a series of rafts that I have recently made whilst in [self-imposed] exile in Townsville away from my ancestral homeland, specifically from the far north east of Tasmania, Tebrikunna. The place in far north eastern Australia that I find myself now living is coastal, perhaps the extent of its familiarity. Making art is central to my being; as central is the need to carry a physical understanding of an immediate way home from wherever I am in the world. The security of keeping alive the flame of my potential means of return to Tasmania is a meditative preoccupation for me. Making these rafts actual out of the dimension of dream has been a cathartic experience of renewal. These rafts, in the repetitive craft of beach collecting, tying and knotting, take my weight and help me move beyond the everyday. Thinking through why we make things and how they operate in the real and imagined worlds that our origins provide us gives me an elemental pleasure of connectedness. On these rafts I sense movement from where I have been, both in art practice and in a broader cultural sense, toward a quiet space for further formations or transmissions about culture, place, time to emerge. These rafts are voyageable translations of what absence and isolation are and how they enable the traveller to experience anew.

Julie Gough June 2005

Julie Gough Sleeping Mountain, 2005 calico, lighting, pillows, oil aerosol on pillows, timber, string, wax rubbings of tree stumps on paper (exhibited at Perc Tucker Regional Gallery, Townsville in Habitus/Habitat - Great Walks of Queensland, Dec 2005 - Feb 2006

SleepingMountain

Thelongclimbupwardsoracleshroud

visi;ngaplacenotofmyownpeoplefreshwaterunfamiliarity

privileged

thewaterdidn’tclaimme

lookingforartfindingtreestumps

likewoundedfacespeeringupwardsateverpresentfirmaments

wai;ngforthereturn

howisittobeuphighwhere;mediffersandnotdisturbit?

overthere,behindme,peripherallypresent

thecreasedcrawlofrainforestgrowthdensity

thickenstheairluredtostretchonthecooltrack

thenightskieswelcomefallingstarandfirefly

respitefromglareofdayanddemandedmaking

backtocampsiteeverythingiscampsite

clearing,cleaning,cooking,wrapping,talkingbutdarkchangestheroute

glimmeroftempestwithinthepar;clesofsepara;on

betweenrealityandpossibility

weeachhaveaplace

thatiswai;ngforourreturn

JulieGoughHabitus‐Habitat,PercTuckerRegionalGallery,16December2005‐5February2006

Julie Gough Artist statement Sleeping Mountain Habitus-Habitat, Perc Tucker Regional Gallery, 16 December 2005 - 5 February 2006

Visiting sites of history and memory 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.

My art presents unsettledness as a manifestation of a larger, national psychic discontent. Much of my work refers to my own and my family’s experiences as Tasmanian Aboriginal people. A key focus of my practice is uncovering and re-presenting historical stories as part of an ongoing project that questions and re-evaluates the impact of the past on our present lives.

The only constant in my life apart from art seems to be my endless sense of movement, somewhat like the tides. Recent works are less about dates and facts and more metaphorically representative of me, now, navigating my reality. A sense of being drawn in different directions, living between and within varied states and places, conveys the mysteries of place, seeming coincidence and the relief and release of locating story and medium in my everyday.

In this work Sleeping Mountain, based on a brief stay near Wallaman Falls in far north Queensland, the place permeated my sleep to provide the means for a sculptural story about the site awakening in the night, bearing witness to recent visitors and their activities. I felt privileged to be welcomed to stay, and yet also noted my physical and spiritual disconnection from the language of this country, a not-knowing of this place. Encounters in the dark with mute firefly and falling star best expressed my acute sense of journeying through but not leaving myself on this mountain.

My feeling is that there is something ‘other’ through which humans individually mediate the world. Working with this spirit of our presence provides me meaning, reason and a way (art making) to engage with an often detached exteriorised public world. My intention is to investigate and provide new ways to reflect upon, and hence understand, places of time, memory, history and the past within a personal present.

Julie Gough November 2005

JulieGoughReturn,2006Installa;onatFriendlyBeaches,FreycinetPeninsula,EphemeralArtattheFriendlyLodgeexhibi;on,February2006

JulieGoughNavigator,2006ImageofworkinprogressTamworthTex6leBiennale2006‐touring2007mixedmedia:blankets,shells,lomandra,teatree90x240x60cmCollec6onTamworthRegionalGallery

JulieGoughLocus,2006Tasmanianteatree,cuQlefishbone,paper4x5x5mBiennaleofSydney2006Collec6onthear6st

Locus - artist statement, Biennale of Sydney 2006

Locus is constructed from a conglomerate of materials and forms that have shaped me. A forest of tea tree sticks, a roller coaster, a giant slide formation, a mound of cuttlefish. A wave, a midden, a coastline, the sea currents and star systems, the blink of an eye. These elements merge to represent the places and stories that impact on my everyday.

The point of juncture, especially between past and present, offers myself practical ways to inculcate and make sense of my childhood, raised besides a noisy amusement park, and of my maternal Indigenous, Trawlwoolway, family ancestry on coastal north eastern Tasmania, amidst tea-tree and she-oak and brilliant night skies.

The wooden slide rises up from the thicket, providing impossible entry for the canoe that is fixed in time on its slope. The canoe is me, the slide my life journey, on it I am transfixed at this point in life heading into the tea tree coastal scrub of my past and future Tasmania. I have constructed myself, into this work, on some kind of surreal ride that in turn, has also formed me; my childhood besides St Kilda Luna Park ensured my peculiar sense of humour above all else.

Incidents provided by Luna Park have contributed to family lore; causality, including my great grandmother breaking both legs on the wooden slide, bring more sense of sorts to the instinctively accumulated bones of cuttlefish mounting beneath the slide reconstruction.

Making physical renditions of how we create ourselves from our own and inherited stories interests me; figuring ways to render distinct sometimes blurred and disassociated personal and public memories is an ongoing process.

Regular motifs in my work include a sense of transition, mobility, unease, living between various states and places not locating an end point of closure in any investigation. Materials incorporated are often both ‘natural’ outdoor found objects combined with household domestic goods, in this instance tea tree and shells with blankets and carpets. I am excited to connect often dry texts with intuitive physical responses to revisited places, seasons; aspects of the past re-enlivened, quickened, by sensorial experience.

JulieGough‘Someofourwomenkidnappedbysealers’,2007 inkjetprint,edi;onof10,framedinTasmanianoak83x118cm.1/10Collec;onoftheQueenVictoriaMuseumandArtGallery,Launceston,Tasmania

JulieGough,Weran/Iam.JournalofGeorgeAugustusRobinson3November1830,SwanIsland,NorthEastTasmania‐“Iissuedslopstoallthefreshna@ves,gavethembaublesandplayedtheflute,andrenderedthemassa@sfiedasIcould.Thepeopleallseemedsa@sfiedattheirclothes.Trousersisexcellentthingsandconfinestheirlegssotheycannotrun”2007,calico,14photographsonpaper,earthpigments,c.2.0x7.5x0.05m.PhotographybyCraigOpie;MapoftheBlackLine:“MilitaryOpera;onsagainsttheAboriginalInhabitantsofVanDiemen’sLand:No.9FIELDPLANofMOVEMENTSOFTHEMILITARY”courtesyoftheTasmanianaLibrary,StateLibraryofTasmania;Trousersby#49CWAHobart

JulieGoughweran/Iam,2007

Ar6ststatement:Conjunc;onplusdisrup;onofplacethrough;meproducedthisworkthatconnectspast/presentbytheac;onofmerunningatsevenself‐selectedplacesfromtheinnumerablesiteswherethe1831“BlackLine”–“Militaryopera;onsagainstthena;vesofVanDiemen’sLand”tookplaceacrossTasmania:Bothwell,LakeSorell,CampbellTown,Richmond,ProsserBayOrford,WaterlooPointSwanseaandStPatrick’sHead.The“BlackLine”wasapparentlyunsuccessfulinthatonlyapurportedtwoAboriginalpeoplewerecaptured.However,theresultofthecampaignalongsidetheprecedingthirtyyearsofakemptederadica;onofmyancestorshaveresultedinthevagariesofmyselfandextendedfamily.Distrus�ulofanyoneversionofthepast‐par;cularlypublishedaccountsfromothercultures,survivalhascomefromanabilitytoswerveordemlyaccommodatechange;mobilisa;onpreventedcaptureorerasureofiden;ty.Humour,doubleentendreandcodifiedmeaningsareeverydaymeansofinterac;ngwiththeworld,findingthoselikeminded,likeculturedtomakemeaningafresh.Inrunningattheseplaces,anoverlaywasakemptedwherebyvarioushistoricalcapturesandescapeswasreplayedandreprocessed.Robinson’swrenchingjournalentrybroughtthemediaandmomentumofthework‐therunning,thetrousers.IssuedtoAboriginalpeopleintheearly1800stheclothingisavisualreminderoftheremovalofpeoplefromtheirenvironment.WearingtheseventrousersandembeddingthemwiththeearthsofthoseplacestheyarejointwitnessestomypresentandourpastexperiencesoftryingtoliveinourCountrypostinvasion.Currentfrustra;onswithtourismandeco‐expansionacrossnorth‐eastTasmaniaencouragedmetopresentcurrentemo;onsoffeelingcompressedintoever;nier‘landparcels’.Thestressofhidingindunestoavoiddailyeco‐touristsinsummeronTradi;onalCountryistheshadowOtherpiecewithinthiswork.Therevisedrun,partperforma;ve,wasreclama;onofplace,reabsorp;onofhistoryontherun.Heavybreathingandachingmusclesmademefeelmorealivethanever.

JulieGoughwouldalsoliketothankSalamancaArtsCentre;AustraliaCouncilfortheArts;JamesCookUniversityTownsvilleandtheTasmanianaLibrary,StateLibraryofTasmaniaformakingpossibletherealisa;onofthiswork.

JulieGoughForcefield,2007deadappletree,bricks,copyof1825magistrate’sreport,;mber,pagesfrom“TheFabrica;onofAboriginalhistory”ANUSchoolofArtGallery:“ThresholdsofTolerance”exhibi;on

JulieGoughSomeofourwomenkidnappedbysealers,2007 book,paper,beads,fabric,acryliconcanvas,wood,cord,gunshot,leather,ink,variabledimensions.Collec;onthear;st a.Shewassoldforoneguinea

b.Shard(KingIsland2006) c.Paddle/spear d.hide e.KangarooIslandsealingcamps f.Someofourwomenkidnappedbysealers g.KingIslandsealingcamps

JulieGoughWitness,2007chair,;mber,paper,goathide,inkvariabledimensions

JulieGoughSentence(Ancestor),2007wood,pyrography,soap,varieddimensions,13piecesCollec;onofArtbank

SHEWASSOLDFORONEGUINEA

SHEWASTAKENMORETHAN10THOUSANDMILESOVER3YEARSONATLEAST5VESSELS

SHEWITNESSEDTHESINKINGOF“THEMARGARET”

SHEWASTHENRENAMEDMARGARETBYAGOVERNMENTAGENT

SHEWASINCARCERATEDBYTHEGOVERNMENTFOR11YEARSFORNOCRIME

SHEHADALREADYBEENCAPTIVEFOR20YEARSTOMENBEYONDTHELAW

HERDAUGHTERHADBEENASERVANTSINCEBAPTISM

HERDAUGHTERWASSHOTATAGED12BYHER‘MASTER’–

APPARENTLYMISTAKENFORAPOSSUM

HERDAUGHTER,WHENHERSELFAMOTHER,WROTETOTHEGOVERNMENTREQUESTINGHERMOTHER’SRELEASEFROMINTERNMENTTOHER

HERANCESTORSHADLIVEDINAUSTRALIAFORTHOUSANDSOFGENERATIONS

SHEDIEDAGEDABOUT50HAVINGLIVEDMOSTOFHERLIFEINENFORCEDEXILEFROMHERCHILDREN,FAMILYANDHEROWNCOUNTRY.

JulieGoughSentence(Ancestor),2007wood,pyrography,soap,varieddimensions,13piecesCollec;onofArtbank

SHEWASSOLDFORONEGUINEA

SHEWASTAKENMORETHAN10THOUSANDMILESOVER3YEARSONATLEAST5VESSELS

SHEWITNESSEDTHESINKINGOF“THEMARGARET”

SHEWASTHENRENAMEDMARGARETBYAGOVERNMENTAGENT

SHEWASINCARCERATEDBYTHEGOVERNMENTFOR11YEARSFORNOCRIME

SHEHADALREADYBEENCAPTIVEFOR20YEARSTOMENBEYONDTHELAW

HERDAUGHTERHADBEENASERVANTSINCEBAPTISM

HERDAUGHTERWASSHOTATAGED12BYHER‘MASTER’–

APPARENTLYMISTAKENFORAPOSSUM

HERDAUGHTER,WHENHERSELFAMOTHER,WROTETOTHEGOVERNMENTREQUESTINGHERMOTHER’SRELEASEFROMINTERNMENTTOHER

HERANCESTORSHADLIVEDINAUSTRALIAFORTHOUSANDSOFGENERATIONS

SHEDIEDAGEDABOUT50HAVINGLIVEDMOSTOFHERLIFEINENFORCEDEXILEFROMHERCHILDREN,FAMILYANDHEROWNCOUNTRY.

JulieGoughTheRanger,2007

Invita;oninstalla;on.SouthAustralianSchoolofArtGallery,UNISA.ImagesfollowingbyeitherMichelleRodgers,MichelKluvanek,NiciCumpston

somewordsforchange,February2008teatree,bookpagesfromCliveTurnbull’sbook;BlackWardippedinwaxephemeralartexhibi;on,FriendlyBeaches,TasmaniaphotographsbySimonCuthbert

JulieGoughartworks2008‐2009

Julie Gough

Artworks 2008 - 2009

Ar;ststatement–FriendlyBeachesFeb2008JulieGough

Somewordsforchange,2008

Thinkaboutthis.Youandyourparentsandtheirparentsandtheirparentsandsoonhadbeenlivingonthisislandalong;me,asgoodasforever.Weknowwhathappenedbecauseithappenedtous,here.Somethingunbelieveable,anakemptederasureinaspanofthirtyyears.AnyTasmanianswhoseancestorswereherepre1831wereinvolvedsomehow,withvaryingdegrees(ornot)ofsepara;on,withTasmanianAboriginalpeoplesremovalfromthisislandtoBassStrait.FromthatperiodofcontactandconflictremaincluesinlanguageandinprintofAboriginaleffortstounderstandandincorporatewhathadarrived,andnonAboriginalunwillingnesstoaccommodate.Thesewordsforchangerevealnotonlywhatkindofnewthingswerearrivinghere,butalso,inourhauntedstateofretrospecttheyoutlinewhatwaspromisedforthoseobserving.Placeistenacious,italwayseventuallyrevealsitshistory.Thisworkisakindoflandpoemaboutchangeandtheironyofhowsilencecanbecomeitsopposite.

[1]moogara(dog),booooo(cakle),bar(sheep),parkutetenner(horse),parrenner(axe),wetuppenner(fence),ponedim(england),trabanna(blanket)leewunnar(clothes),mutenner(cap),lurlaggerner(shoes),panneebothi(flour),parteper(pipe),pyagurner(tobacco),perringye(bushranger),teeburrickar(soldier),linghene(fireagun/scourge/flagellate),hillar(gun),lughtoy(gunpowder),warkerner(musket),parkutelenner(horseman),licummy(rum),perrukye(broom),;eridka(boat),mar;llarghellar(goat),woreraelinene(tent),nyvee(knife),beege(oar),narpunenay(sew),kaeka(spaniel),legunthawa(kangaroodog),pleeerlar(cat),noermernar(whiteman),devil(nowhummer),whiteman(nonegimerikeway),uglyhead(nonegielearty)

[2]Saturday23December1830.TheHobartTownCourier:OnWednesday,oneofthemostnumerousmee;ngswhichhasyetbeenheldinthecolonywasassembledinthecourtofrequestsroom.MrHackekregrekedthatsofeweffortshadbeenmadebythewhitestolearnthelanguageoftheblacks…hedidnotthinktherewerefivepersonsintheislandwhocouldconversewiththemormakethemselvesunderstoodbythem….HadVanDiemen’sLandbeencolonizedbytheFrenchthecasewouldhavebeenverydifferent.

Note:ThelanguagewordsabovewererecordedbynonAboriginalpeopleduringtheearly1800s.From:Plomley,N.J.B,1976,AWordListoftheTasmanianAboriginalLanguages.Author&GovernmentofTasmaniaLaunceston.

Julie Gough Black-line properties I 2008 Tea tree spears with paint on timber 94 x 196 x 7 cm collection of Janet Holmes a Court

Julie Gough The chase 2008

Found leatherette chaise lounge, steel pins, burnt tea tree 97 x 182 x 52 cm collection of NGA

Thisworkisawellwornchaiseimpressedwithatextmadefromtensofthousandsofpins.Eachlekertook12‐15minutestomake.Thechaiseismodifiedfurtherwithburntteatrees;ckspearlegsakachedontotheoriginallegs,turningthisfamiliarfurnitureitemintoafugi;veobjectthatthreatenspoten;almobility,evenflight.

Saturday 27 November 1830 The Hobart Town Courier Two of the aborigines who have been living so long at Mr Robinson’s on the New Town Rd absconded this morning, after divesting themselves entirely of the clothing given to them and which they had so long worn. They were apparently getting accustomed to the mode of living of the white people and could speak English. Many of the inhabitants of New Town were in the habit of stopping at the door and talking to them. They were encountered in the bush by two broom makers, one a cripple, who succeeded in taking them. The blacks made every effort to escape. Several persons at work in the bush fled at the sight of them. Nothing can tame them.

ThechaiseisacommoniteminHobartan;questoresandtheTasmanianMuseumandArtGalleryusuallyexhibitsoneofitsfamedcolonialchaisesinitsentranceway.Thisfurnitureitemusuallyrepresents,forme,thegambitcomfortoftheupperclassesin‘sekling’intoasupposedlycolonisedVanDiemen’sLand.

Furniture,asmuchasnewspapertexts,clothes,foods,plantsandintroducedfaunainthe1800sallrepresentcluesandacorrespondingmeanstomakecontactwiththepastofthecolonisers,toreadhowtheyoccupiedtheirnewlyinventedproper;es.Thepinsareformeameanstoliterallyspelloutthepast,toslowlyrealisethestoryandreflectonwhathappenedwhilesmakingthework.ItwasimportanttouseanitemthatrepresentschangeandthatwasatoolofaseamstresswhomaketheclothesthattheAboriginesinthisstorysoquicklydivestthemselvesof,giventheopportunity.

ThepalpablesurfacingofHobartTown’sfearisevidentinthetext:“Nothingcantamethem.”Itrevealspubliclyhowwellreceivedwillbetheinten;onoftheGovernmenttoofficiallyremoveallTasmanianAboriginalpeoplethefollowingyearinthe“BlackLinecampaign”of1831.

Thiscontemporaryviewer/reader’sprecogni;onofwhatwillhappentoTasmanianAboriginalpeopleinthesubsequentcentury‐post1830sBassStraitbanishment,restsuneasilywiththeabjecthumourinthetextopenlycontradic;ngitself,admiZngthatacripplemanagedtocapturethetwo‘untameable’Aborigines.

Julie Gough Head count 2008 Found chair with brass rods & black crow shells 85.5 x 43 x 43 cm collection of the artist

Julie Gough Incident reports 2008 Commissioned Tasmanian oak bookshelf, tea tree stocks, burnt Tasmanian oak 240 x 90 x 19 cm private collection

Julie Gough Malahide 2008 Fingal Valley coal necklace on dropped Northern Midlands antlers 200 x 133 x 35 cm Collection of Art Gallery of SA

My making of strung coal necklaces refers in part to the Tasmanian shell necklace tradition, my own gap in missing the inheritance of that tradition in my immediate family, and how the processes of dispossession of Country: colonisation: farming, hunting, mining are in part responsible for this gap. However, probably ironically, my maternal Tasmanian Aboriginal family and my paternal Scottish family have both worked in, and in Tasmania owned, coal mines. Dalrymple Briggs and her husband Thomas Johnson opened in 1855 their 'Alfred Colliery' -.6 km east of Tarleton, Tasmania. Today abandoned, the seam was about 600 mm thick. The family of my Scottish Grandmother, Ann Gough (neé Laird) and Laird, Dobbie, Rennie relatives worked extensively in coal mines in Lanarkshire near Glasgow up to the early 1900s. The feel of coal in my hands is compelling. Somehow familiar, I feel the pull to collect, sort, drill and thread these giant necklaces. The blackness of the coal dust is somehow disconcerting given it is not the warm charcoal of a fireplace but the darkest coldest blackness of our ancient island’s core. The weight of a coal necklace becomes more than the personal, it seems to be the shared load of our history, I walk with each one around my shoulders once it is made, before it is consigned to a crate. Dark Valley, Van Diemen’s Land is then a mute memorial, a remembrance of the grim times and an invocation to keep making one’s way forward to comprehend what happened in VDL and where we are today in Tasmania. The antlers represent the avoidance and anxiety evident across Tasmania today in terms of the mainstream unwillingness/inability? to present colonial history as also Tasmanian Aboriginal history. Post 1800 Aboriginal Tasmanian history is afforded space in Bass Strait but is yet to be presented as concurrent and engaged with anglo heritage convict/colonial histories promoted in tourist Tasmania. The stories of the hunt for Aboriginal people are too close to home, too clearly connected with major landholding families to this day to be easily acknowledged outside of art.

Julie Gough She was sold for one guinea, 2007 Found beaded decoration and book on wooden shelf 12 x 13.5 x 20 cm collection of NGA

This work is literally a closed book. The book is fixed shut by the words on paper tape: SHE WAS SOLD FOR ONE GUINEA. This brief sentence refers to an event in the life of one of my ancestors. Woretemoeteyenner, daughter of Mannalagenna a significant leader of the Oyster Bay people, was born around 1795 and died 1847 near Latrobe in Tasmania. A Trawlwoolway woman from Cape Portland, north east Tasmania, Woretemoeteyenner spent the last 6 years of her life with her daughter, Dalrymple Briggs and family after Dalrymple successfully petitioned the governor for her mother’s release from Wybalenna, Flinders Island. Understanding Woretemoeteyenner’s life is, for me, a gradual unfolding of clues about what happened to her and all my family, especially during the first 50 years of the 1800s, when life on and around the island now called Tasmania was a series of changes, interruptions, violence and misdemeanours. It is difficult to comprehend and interpret those frontier times when information today is so brief and cryptic. Sometime in the late 1820s, perhaps 1827 after Woretemoeteyenner returned from 2 years of sea travel across to Mauritius with 4 other Aboriginal women and sealers. It appears that at this time her partner of perhaps 17 years, George Briggs, sealer from Dunstable Bedfordshire, sold her for a guinea to fellow sealer John Thomas. There is historic silence for Woretemoeteyenner’s life until 19 Dec 1830 when James Parish ‘brought in” to Swan Island five Aboriginal women he had found on Penguin Island, including this ancestor to George Augustus Robinson, lay preacher and Govt appointed “Conciliator of the Aborigines.” These women were: PILLEVER/TRUCKLOWRUNNER/NOLLAWOLLAKER and TARERENORERER/WALYER and WORETERMOTETEYER and PLOWNNEME/PANGEM and NICKERUMPOWWERRERTER. These five women had been held captive catching seals for John Thomas, John Brown, Thomas Fisher, Thomas Turnbull and had got 120 skins in the previous 7 weeks. Briggs is not listed at this date as sealing in the Furneaux Islands of Bass Strait. Woretemoeteyenner soon after is living, again captive, but this time by Government order, at Wybalenna on Flinders Island, where she will spend almost a decade apart from her three daughters and son. This small artwork is about the frustration, anxiety and anger that I carry about those times. I am like this closed book, this story is in me, but it is hard to fathom. Apparently until about the 1830s in England wives could be sold at market, especially if both the wife and husband wanted this. This practice was frowned upon in England from the late 1700s, but sealer’s lives were separate in time and space than the place they had left behind. The sealers continued and modified their own cultural practices to suit their ruthless lives. The guinea had been replaced from the major unit of currency in 1816 in the “Great Recoinage” by the pound and with a coin called a sovereign. But in Bass Strait the Guinea was still tendered, probably to the end of the 1820s or even later. The guinea was equivalent to 21 shillings (£1.05 in decimalised currency). The guinea most likely to have been used to buy Woretemoeteyenner, if this account is true, would be the George the Third spade guinea of c.1795, minted on about the year of her birth.

Julie Gough Some Tasmanian Aboriginal children living with non-Aboriginal people before 1840 2008 Found chair with burnt tea tree sticks Installed approx: 288 x 60 x 50 cm collection of NGA

Julie Gough She was sold for one guinea, 2007 Found beaded decoration and book on wooden shelf 12 x 13.5 x 20 cm collection of NGA

This work is literally a closed book. The book is fixed shut by the words on paper tape: SHE WAS SOLD FOR ONE GUINEA. This brief sentence refers to an event in the life of one of my ancestors. Woretemoeteyenner, daughter of Mannalagenna a significant leader of the Oyster Bay people, was born around 1795 and died 1847 near Latrobe in Tasmania. A Trawlwoolway woman from Cape Portland, north east Tasmania, Woretemoeteyenner spent the last 6 years of her life with her daughter, Dalrymple Briggs and family after Dalrymple successfully petitioned the governor for her mother’s release from Wybalenna, Flinders Island. Understanding Woretemoeteyenner’s life is, for me, a gradual unfolding of clues about what happened to her and all my family, especially during the first 50 years of the 1800s, when life on and around the island now called Tasmania was a series of changes, interruptions, violence and misdemeanours. It is difficult to comprehend and interpret those frontier times when information today is so brief and cryptic. Sometime in the late 1820s, perhaps 1827 after Woretemoeteyenner returned from 2 years of sea travel across to Mauritius with 4 other Aboriginal women and sealers. It appears that at this time her partner of perhaps 17 years, George Briggs, sealer from Dunstable Bedfordshire, sold her for a guinea to fellow sealer John Thomas. There is historic silence for Woretemoeteyenner’s life until 19 Dec 1830 when James Parish ‘brought in” to Swan Island five Aboriginal women he had found on Penguin Island, including this ancestor to George Augustus Robinson, lay preacher and Govt appointed “Conciliator of the Aborigines.” These women were: PILLEVER/TRUCKLOWRUNNER/NOLLAWOLLAKER and TARERENORERER/WALYER and WORETERMOTETEYER and PLOWNNEME/PANGEM and NICKERUMPOWWERRERTER. These five women had been held captive catching seals for John Thomas, John Brown, Thomas Fisher, Thomas Turnbull and had got 120 skins in the previous 7 weeks. Briggs is not listed at this date as sealing in the Furneaux Islands of Bass Strait. Woretemoeteyenner soon after is living, again captive, but this time by Government order, at Wybalenna on Flinders Island, where she will spend almost a decade apart from her three daughters and son. This small artwork is about the frustration, anxiety and anger that I carry about those times. I am like this closed book, this story is in me, but it is hard to fathom. Apparently until about the 1830s in England wives could be sold at market, especially if both the wife and husband wanted this. This practice was frowned upon in England from the late 1700s, but sealer’s lives were separate in time and space than the place they had left behind. The sealers continued and modified their own cultural practices to suit their ruthless lives. The guinea had been replaced from the major unit of currency in 1816 in the “Great Recoinage” by the pound and with a coin called a sovereign. But in Bass Strait the Guinea was still tendered, probably to the end of the 1820s or even later. The guinea was equivalent to 21 shillings (£1.05 in decimalised currency). The guinea most likely to have been used to buy Woretemoeteyenner, if this account is true, would be the George the Third spade guinea of c.1795, minted on about the year of her birth.

Julie Gough Some Tasmanian Aboriginal children living with non-Aboriginal people before 1840 2008 Found chair with burnt tea tree sticks Installed approx: 288 x 60 x 50 cm collection of NGA

JulieGoughDrivingBlackHome...2,2009(s;ll)dvdloop:dura;on3hr43min55secs

LandGrantsgivenoutbetween1804‐1832inVDL:3125Acres:1million842thousandand234acresOnaverageonegrantgivenevery3.25daysfor28yearsTasmanianAboriginalpeoplein1804:Approx.5000TasmanianAboriginalpeoplein1832:Approx.250

Thanksto:Koenraad:roadtrip,NancyMauro‐Flude:edi;ng

Thisworkistheresultoftranscribingthegrantee,quan;tyofacreageinCountyloca;onofall3125landgrantsdistributedbetween1804‐1832inVDL.Ithenfilmedwhiledrivingthroughthevariouscoun;esinwhichthesegrantsarelocated.The;methesegrantstaketoscrollacrossthefootagedeterminedthelengthofthefilm,hence12hoursoffootagewaseditedtomatchthenumberofgrantsthatmoveacrossthescreenatc.5seconds:3hr43min55secsintotal.

JulieGoughriversrun,2009dvdsilentfilm40:55mins

JulieGoughForce'ield2,2009Appletree,brick6ireplace,depositionfromms3251NLA,Tasmanianoak,’TheFabricationofAboriginalHistory”.TheClemengerAward‐NationalGalleryofVictoria

JulieGoughManifesta@on(night),2010

(workinprogress)BrunyIsland

JulieGoughManifesta@on(dusk),2010

(workinprogress)BrunyIsland