The Wonderful Land of OZ, 2012 - 2014

Adopting a storybook aesthetic, these photographs present pristine vistas and idyllic locations, reimagined with reference to personal, political and historical issues.  The works play with reality and illusion in a way that hints at a level of contrivance and obfuscation. 

These tableau vivant photographs form part of ‘The Wonderful Land of Oz’ series. It comprises a suite of drawings, photographs, a film, an interactive installation and a public artwork, which articulate a critical reading of the Australian landscape.

Photographs

Printed large scale on rag paper, it is difficult at first to determine whether these are collages, original two dimensional painted works, digitally composed imagery or photographs of actual subjects. As the viewer moves closer they discover details that hint at the truth. A piece of string here, a chunk of sticky tape there, or perhaps the edge of a wooden support peaking out from behind paper scenery. Gradually it becomes apparent that these are life size sets occupied by real performers.

These works were originally shown at Spiro Grace Art Rooms (SGAR) alongside a catalogue essay by Courtney Pedersen.

Special thank to: Tim Aistrope, Bertrand Branchu, Cathy De Silva, Reuben Degroot, Simon Degroot, Daniel Cabrera, Madeleine Keinonen, Kathryn Gray, Jenna Baldock, Matthew Eden, MAAP Projects, Spiro Grace Art Rooms, David Serisier, Suzanne Serisisier, Dominique Serisier, Father George, Tarragindi Theatre Society, Martin Barry and Renai Grace.

Drawings, 2012

‘The Wonderful Land of Oz’ is a large body of work that presents multiple interpretations of initial drawings and collages, which were based on Australiana calendars of native flora and fauna. The work grew out of a desire to critique the idyllic representations of the Australian landscape presented in tourism promotional material. Pristine source material was deconstructed and reconstituted with references to contemporary political, social and environmental issues in an attempt to hint at a level of contrivance.

These pencil and watercolour pieces show the beginnings of the project. They exist as stand alone works, but they are also designs for the rest of the series (photographs, a film, an interactive installation, public art and a performance). Each presents a fantasy landscape inhabited by a central figure. Animals merge with humans in this thinly veiled yet playfully absurd version of Australia, as clouds reference national identity, the Sydney Opera House goes on tour, and a Koala admires Ken Done. Looking deeper, there are hints to the spiritual and historical shape of our landscape, as an ark floats across the sea, a colonial ship sails along a river and a native Gallah merges with a Lion to create an antipodean Griffin.