Starlie Geikie, Abri I, 2018, archival pigment inkjet print on Hahnemühle photo rag, 74.5 x 111.8 cm. Photo: Andrew Curtis. Courtesy of the artist.
Naomi Eller, Single-hole weight…plugged (installation detail), 2017, various clays, wax and rope,
dimensions variable. Courtesy of the artist.
Claire Lambe, Witnessing Bacon, 2018, wool, silk and cotton tapestry; digital prints; bronze basin, dimensions variable. Courtesy of the artist; Sarah Scout Presents, Melbourne; and Francis Bacon Studio at Dublin City Gallery The Hugh Lane, Dublin, Ireland.
Hiromi Tango, 46 Healing Chromosomes (detail), 2017, mixed media, 200 x 520 x 48 cm. Courtesy of the artist and Sullivan+Strumpf, Sydney.
Lindy Lee, Being Swallowed by the Milky Way (detail). 2017, flung bronze, 180 cm diameter. Art021, Shanghai. Photo: Rex Zou UAP.
Sanné Mestrom, Self Portrait as the Sun, 2018, concrete, bronze and steel
life size, 140 x 40 x 40 cm. Courtesy of the artist and Sullivan + Strumpf, Sydney.
Belle Bassin, Notation for Alto Air, 2017, digital image. Courtesy of the artist.
John Meade, Set Pieces, 2017, installation detail, Sutton Gallery, Melbourne. Photo: Andrew Curtis. Courtesy of the artist and Sutton Gallery, Melbourne.
Agatha Gothe-Snape, MAM Project 023, 2017, installation view, Mori Art Museum, Tokyo. Photo: Shiigi Shizune. Courtesy of the artist and Mori Art Museum, Tokyo.
Justine Varga, Photogenic Drawing, 2017, installation view, Sydney Contemporary, Carriageworks. Photo: Nick Kreisler. Courtesy of the artist and Hugo Michell Gallery, Adelaide.
“I want people to be jolted into their bodies,” says curator Emily Cormack about the unnerving opening to the 2018 TarraWarra Biennial. It includes an imposing Rob McLeish sculpture and a 2004 video of Mike Parr vomiting milk, “quite loudly,” as Cormack puts it.
But From Will to Form is not an exhibition about the body. Instead, Cormack is exploring the art making process and the artist’s will. She wants to know where this will comes from; the body, the subterranean psyche, the land, or even family? She also wants to find out what happens to it, and the artist, as it moves into the form of an art object.
Cormack started thinking about these questions when she realised that there were no art historical tropes that explained what she often felt when she looked at art. “I had this sense that there was an activity or an essence within the art object that was reaching out to the world… It felt like it was this free, rebellious force that didn’t want to be pinned down or told how to behave,” she says. “So I began to think about what exactly this force was.”
Artists were eager to respond to her ideas and 19 of the 24 works in the biennial are commissioned new works. The exhibition is organised according to the various sources or types of will.
Cormack makes the connection between Starlie Geikie’s work and the experience of pregnancy. For her commission, Geikie has made a wearable sculpture, Abri, 2018, that is documented in a series of photographs and also hung in the gallery. Cormack describes it as “body architecture,” noting how it protects as well as shapes and constrains.
Parr’s second work in the biennial also considers the body. In his commissioned performance he will work with six art students to whistle a single note for three days, sending it out and into the ears and bodies of listeners. This idea of sound as a conduit of will through the body is also explored by Bridie Lunney in her installation and performance work, All for Nothing, 2018.
Cormack says other artists draw from the land and family history, such as Dale Harding with his 40-metre wall drawing made using earth from his grandmother’s Bidjara country. The curator considers family legacies in another way by pairing works by father and daughter Michael Snape and Agatha Gothe-Snape, the first time they have exhibited together.
Fishing trap sculptures by artists from Erub Arts on Darley Island, off the Cape York Peninsula, are used to ask how will might be captured or diverted, however temporarily. And in the final stages of the exhibition, Cormack considers the act of release through the flung bronze sculptures of Lindy Lee.
The TarraWarra Biennial: From Will to Form also includes works by Belle Bassin, Vicki Couzens, Naomi Eller, Julie Gough, Claire Lambe, John Meade, Sanné Mestrom, Alison Murray, Michelle Nikou, Kusum Normoyle, Hiromi Tango, Fairy Turner, Michelle Ussher, Justine Varga, and Isadora Vaughan.
Performances and talks will take place in the gallery during the opening weekend and on 20 October.
TarraWarra Biennial: From Will to Form
TarraWarra Museum of Art
3 August – 6 November
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