appendix one: list of submitted work

APPENDIX ONE: LIST OF SUBMITTED WORK

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APPENDIX ONE: LIST OF SUBMITTED WORK Booth, 2000-3 Stained plywood, light, sound track, CD player. 120cm x 210cm x 85cm Reception, 2003-4 Office furniture, light box, computer, PowerPoint display, plastic indoor plant, surveillance camera, vinyl lettering. Dimensions variable Trolley, 2003-4 Cardboard storage boxes, shredded documents, plastic bags, trolley. 350cm x 90 cm x 220cm Shredding room, 2004 Shredded documents, paper shredder, sensor. Dimensions variable Storeroom, 2003 Constructed room, book pages, muslin, cardboard storage boxes, painted shelving, metal brackets. Dimensions variable Rooms 714 and 715, 2001 Two room construction, office furniture, files, computer, QuickTime movie, acoustic tiling, observation mirror, surveillance camera, books 600cm x 290cm x 220cm approximately Meeting room, Room 748, 2002-3 One room construction, two doors, vinyl lettering, office furniture, slide projector, 80 slides files, jacket, glasses. 400cm x 290cm x 300cm approximately Surveillance and sorting room, 2003-4 Office furniture, convex observation mirror, recording equipment, surveillance monitors, computer, QuickTime movies, reconstructed shredded images, canite wall panels, pins, grain bags, shredded documents. 600cm x 290cm x 300cm approximately

APPENDIX TWO: OTHER WORK

153


In addition to resolving the work for the final submission, a number

of other projects were completed during all phases of the research.

Notably, these include a major solo installation of work at

Contemporary Art Services Tasmania which resulted from my

Australia Council residency in London, commissions to make site-

specific work for Salamanca Arts Centre and Newcastle Region

Gallery, and a site-specific project held in the State Library of

Tasmania for Living Artists' Week. While all of this work reflects

some aspect of our relationship to language and to knowledge and

was also used to trial a range of installation strategies, it does not

always sit squarely within the research project's aims. These other

projects have been included as support work in the form of

documentation.

6=9: Now I lay me down to sleep, CAST Gallery, 2000

This was a collaboration with dress designer Sandra Alcorn for a

group show that brought together three designers and three artists.

Sandra and I made two tiny pillows, each embroidered with hair to

spell out the words keep and wake.

Figure 1: Now I lay me down to sleep, collaboration with Sandra Alcorn (installation view), 2000


154

The pillows were displayed on small perspex tables encased in an

organza curtain. Each artist and designer also displayed an

individual work.

Touching from a distance, 2001

This was a group exhibition held simultaneously at the Fremantle

Arts Centre, Perth, and Foyer installation venue, Hobart.

Participating artists made one small work, which was exhibited in

Hobart and a larger, related, work that was shown in Perth. The aim

of the show was to make work that evoked the physical and

psychological distance between the two venues.

Figure 2: I don't want to talk about it (detail), 2001

I made post cards for the Hobart venue that viewers could take with

them. These were professionally printed on one side and, on the

other, I hand wrote the words I don’t want to talk about it. For the

Perth venue I filled a thick exercise book with the same text and

displayed it on a small white student desk.

Méditations, Paris 2002

This work was created for a group exhibition held at Cité

Internationale des Art, Paris, France whilst I was resident there. I

used the strategy of palimpsest to reflect the experience of being in

Paris. I bought a second hand copy of Rene Descartes Méditations,


155

pulled it apart and wrote over about 200 of the pages which were

then pinned to the wall of the gallery in a grid formation.

Figure 3: Méditations (detail), 2002

The words I wrote over the text became a literal and visual pattern

that commented on Descartes series of Méditations. I wrote the

word 'un' over the first Méditation, the words 'un deux' over the

second Méditation, 'un deux trois' over the third, and so on. In the

gallery, the exhibited work formed a grid of 2.5 metres in height by

1.5 metres in width. A framed version of Méditations 1-3 was

exhibited in Hobart in a group exhibition at Despard Gallery in mid

2002.

Digital books, London, 2002

During my residency in London, I created around 20 tiny artist

books, all based on digital images that evoked different aspects of

my time there. Many of the books reflected my visits to libraries,

but others were simply about the experience of being in London.

These books have never been exhibited formally.


156

Figure 4: Digital books, 2002. Each book, 9cm x 6cm.

Inhabitation, Long Gallery, Salamanca Arts Centre, 2002

A work commissioned for the group exhibition 7 Warehouses,

curated by Rebecca Greenwood and held at Salamanca Art Centre's

Long Gallery. The exhibition celebrated the 25th anniversary of the

Art Centre and the history of the warehouse buildings at Salamanca

Place.

Figure 5: Inhabitation (installation view), 2002


157

Inhabitation focussed on Hobart's early whaling industry and

featured a 2.8 metre high sculptured replica of the pectoral fin of a

humpback whale. Coated in a completely white surface that evoked

soap or fat, it was positioned in front of a wall covered in white

wallpaper that had been screenprinted with white text that listed

details of 1830s and 40s whaling boats, the crew and their catch. A

digital replica of a 19th century print showing people submerging

their bodies into the carcass of a dead whale as a cure for arthritis

was hung on the wall.

Living History, State Library of Tasmania, 2003

This was a site-specific installation and performance held as part of

Living Artists' Week in the Tasmaniana Library reading rooms in the

State Library of Tasmania. The work responded to specific items

about reading and writing held in the State Library of Tasmania's

Heritage Collections. I sat at a small antique table in front of a

reproduction of a silver albumen photograph, originally taken in

1856, of a young girl writing on the verandah of an historic

Tasmanian homestead.

Figure 6: Living history (installation view), 2003

I carried out a daily automatic writing performance in response to

the image, recording my thoughts in a book that was left open on the

table. Visitors could watch and read what I had written afterwards.

They could also have a go at automatic writing themselves,


158

following instructions by listening to a CD through headphones left

on the table. The work was accompanied by a display of small, linen

covered books from a mid 19th century Hobart prison library. A

display cabinet behind the performance area was covered in black

velvet to evoke a sense of the unknown past.

Figure 7: Living history, member of public participating in automatic writing, 2003

Fremantle Print Prize, Fremantle Arts Centre, Perth, WA, 2001

One of the digital prints I developed from video footage of the EEG

procedure I had at the University of Tasmania's Psychology

Department was accepted into this prize. Measuring 1.2 metres by

85 cm, it featured a close-up of my head in the EEG cap against the

acoustic tiling that lined the room.

Figure 8: Are you thinking what I'm thinking? 2001.


159

Inaugural Poimena Art Award, Poimena Gallery, Launceston, 2003

I entered a work entitled CONTENT (#3) in this prize, which

required that a small cardboard box be used in the completed work.

Figure 9: CONTENT #3 (detail), 2003

I cut the word CONTENT out of one side of the box, as in a stencil,

and then encased this inside two progressively larger frosted glass

boxes, each also stencilled with the work CONTENT. The effect

was that of a semi transparent Russian doll, the small cardboard box

visible through the glass boxes via the stencilled letters CONTENT.

The Library, CAST Gallery, 2003.

A major solo exhibition of a large-scale installation that was held at

Contemporary Art Services Tasmania Gallery. This work resulted

directly from my Australia Council Overseas Residency in London,

which I took up from January to April 2002, to visit some of the

great libraries of the world and develop new ways of working with

the visual symbols of the book and the word. The installation

incorporated a 9 metre long table, its surface engraved with a

branch-like structure filled with ink; an animated projection of

hundreds of famous book titles, and a large leather library chair. The


160

gallery was painted an intense red and was dimly lit, creating a rich,

internal space that referenced the body, blood and opulence.

Figure 10: The Library (installation detail), 2003

Figure 11: The Library (installation detail), 2003

The exhibition was accompanied by an artist's talk and a

performance of 'bibliomancy' readings in which I divined the

answers to visitors' questions from a selection of books.


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Figure 12: The Library, Bibliomancy performance, 2003

IXL Show, Plimsoll Gallery, 2002-3

This exhibition featured work by Tasmanian School of Art students

and staff and was principally arranged for management of the IXL

Art Hotel development to consider for purchase.

Figure 13: Palimpsests, 2003-4

I developed a small installation that consisted of 15 framed pages

from historical texts arranged in a group above an antique writing

table. The pages were from two of my writing performances and


162

were overwritten with the words I know where I'm going and I have

my work cut out for me.

Second sight: the vision of Roland Pope, Newcastle Region Art Gallery, 2003.

This work was commissioned for the group exhibition <LOOK>,

curated by Merryn Gates and held at Newcastle Region Gallery

February - March 2004. The brief was to make work that evoked a

conceptual link between the Newcastle Library and Gallery, which

are sited next to each other. The completed work focussed on Dr

Roland Pope, an ophthalmologist who donated an impressive

collection of books and art works to the City of Newcastle in 1945.

It incorporated a large circular 'eye' made from 200 small convex

mirrors and a suspended image of Roland Pope from his Ex Libris,

which was inside every one of his 4,000 donated books. The

suspended image was laminated onto a clear perspex lens that hung

1 metre from the large 'eye', which was hung on the wall.

Figure 14: Second sight, the vision of Dr Roland Pope, 2004

APPENIDIX THREE: BIBLIOGRAPHY

163

APPENDIX THREE: BIBLIOGRAPHY

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Grant, Simon, 'Maze Maker', Art News, Vol 100, No 3, March 2002, p 94 Green, Charles, Peripheral Visions: contemporary Australian art 1970-1994. Roseville East, NSW: Craftsman House, 1995 Green, Charles, The third hand: collaboration in art from conceptualism to postmodernism. Minneaopolis: University of Minnesota Press, ©2001 Groys, Boris, Ross, David A and Blazwick, Iwona, Ilya Kabakov. London: Phaidon Press Ltd, 1998 Gumpert, Lynn, Christian Boltanski, Paris: Flammarion, ©1994 Hanne Darboven: ein jarhundert - Johann Wolfgang von Goethe gewidmet. Frankfurt am Main: Museum fur Moderne Kunst, ©1999 Harrison, Charles, 'Against precedents', Studio International, Vol 178, 1969, p 90-94 Hartzell, Emily and Sobell, Nina, 'Sculpting in time and space: interactive work', Leonardo, Vol 34, No 2, 200, p 101-107 Ilya/Emilia Kabakov, Monument to a lost civilization/Monumento all civilta perduta. Milano: Edizioni Charta, 1999 Kabakov, Ilya; Tupitsyn, Margarita and Tupitsyn, Victor, 'About installation', Art Journal (USA), Vol 58, No 4, Winter 1999, p 62-73 Kafka, Franz, The castle. London: Penguin Books,1997 Kafka, Franz, The trial. (translated with an introduction by Idriss Parry) London: Penguin Books,1994


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APPENDIX FOUR: LIST OF ILLUSTRATIONS

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Part One: The central argument Figure 1

Pages from one of my father's books. Scanned from: Bond, MA and Walpole AS, Euripides: Hecuba. London: Macmillan and Co Ltd, 1922, p4-5.

Part Two: Context Figure 1

Joseph Kosuth, The ninth investigation, (Art as idea as idea), Proposition 2, installation view, 1972. Scanned from: Kosuth, Joseph, Art after philosophy and after: collected writings, 1966-1990. Cambridge, Massachusetts and London, England: The MIT Press, 1993, figure 20.

Figure 2

Adrian Piper, Catalysis III, 1970 Scanned from: Godfrey, Tony, Conceptual art, London: Phaidon Press, 1999, p 233. Figure 3

Liam Gillick, Wood way, 2002 Installation view, Whitechapel Art Gallery. Scanned from: Liam Gillick: wood way. London: Whitechapel Art Gallery, 2002.

Figure 4

Jenny Holzer, Protect me from what I want, 1988 LED display on Spectacolour board. As installed in Picadilly Circus, London. Dimensions variable. Scanned from: The twentieth century art book. London: Phaidon Press, 1999, p 209.

Figure 5

Mike Nelson, The coral reef, 2000 Installation view, Matt's Gallery, London. Courtesy: the artist and Matt's Gallery, London.


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Scanned from: Oliveira, Nicolas de, Oxley, Nicola, Petry, Michael, Installation art in the new millennium: the empire of the senses. London: Thames and Hudson, ©2003, p 135 Figure 6

Rirkrit Tiravanija, Untitled (tomorrow is another day), 1996 Apartment installation at the Cologne Kunstverein Museum, Germany, courtesy Gavin Brown's Enterprise, New York and Neugerriemschneider, Berlin. Scanned from: Weintraub, Linda, Making contemporary art: how today's artists think and work. London: Thames& Hudson, ©2003, p 104. Figure 7

Mark Wallinger, Mark Wallinger is innocent, 1997 Ink on paper; dimensions variable. FRAC, Nord/Pas-de-Calais, Dunkirk. Scanned from: Mark Wallinger: Credo, Millbank, London: Tate Gallery Publishing Ltd, 2000, p 14 Figure 8

Joseph Kosuth, One and three chairs, 1965 Folding wooden chair, photograph, blown-up dictionary definition. Private collection. Scanned from: Godfrey, Tony, Conceptual art, London: Phaidon Press, 1999, p 11.

Figure 9

Liam Gillick, Wood way, 2002 Installation view, Whitechapel Art Gallery. Scanned from: Liam Gillick: wood way. London: Whitechapel Art Gallery, 2002. Figure 10

Joseph Kosuth, Zero and not, 1986 Silkscreen on paper. As installed at the Chambre d'Amis, Ghent. Scanned from: Godfrey, Tony, Conceptual art, London: Phaidon Press, 1999, p 360. Figure 11

Ann Hamilton, Untitled (detail), 1992 Vitrine/small coloured pebbles glued on text, window; 9.5x23.5x98cm Courtesy Sean Kelly Gallery, New York. Scanned from: Ann Hamilton: past - present 1984-1997. Lyon: Musee d'art Contemporain, ©1988 ©1999, Fig 7.


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Figure 12

Ann Hamilton, tropos, (detail) 1993 48 burnt books, outcome of the happening created for the presentation of the work tropos at the Dia Foundation of Art, new York, 1993-4. Scanned from: Ann Hamilton: past - present 1984-1997. Lyon: Musee d'art Contemporain, ©1988 ©1999, Fig 13.

Figure 13

John Latham, Skoob tower ceremony, March 1966 Bangor North Wales. Scanned from: Corris, Michael. 'From black holes to boardrooms: John Latham, Barbara Stevini, and the order of undivided wholeness', Art + Text, No 49, 1994, p 69. Figure 14

Christian Boltanski, Réserve: Détective, 1988 Installation view, 'Inventar', Hamburger Kunsthalle, Hamburg, Germany, 1991. Scanned from: Gumpert, Lynn, Christian Boltanski, Paris: Flammarion, ©1994, p 129. Figure 15

Christian Boltanski, Réserve, les Suisses mort, 1990 Installation view, Galerie Ghislaine Hussenot, Paris, 1991. Scanned from: Gumpert, Lynn, Christian Boltanski, Paris: Flammarion, ©1994, p 138. Figure 16

Michael Landy, Breakdown, 2001 C&A Store, marble Arch, London. Photograph: Dillon Bryden. Courtesy: Karsten Schubert and Thomas Dane, London. Scanned from: Oliveira, Nicolas de, Oxley, Nicola, Petry, Michael, Installation art in the new millennium: the empire of the senses. London: Thames and Hudson, ©2003, p 177. Figures 17-18

Mark Wallinger, Prometheus, (detail and installation views), 1999 Scanned from: Mark Wallinger: Credo, Millbank, London: Tate Gallery Publishing Ltd, 2000, p 67, 68. Figure 19

Bruce Nauman, Four corner piece, 1971 Installation of 4 cameras and 4 monitors. Collection of Museum of Contemporary Art, Los Angeles. © Bruce Nauman/Artists Rights Society (ARS), New York.


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Scanned from: Engberg, Juliana, The labyrinthine effect, Soutbank, Vic: Australian Centre for Contemporary Art, 2003, (no page numbers). Figure 20

Mike Nelson, The cosmic legend of the Uroboros serpent, 2001 and, The deliverance and the patience, 2001. Scanned from: 2002 Biennale of Sydney: (the world may be) fantastic. [Sydney]: the Biennale of Sydney, ©2002, p 132. Figure 21

Ilya and Emilia Kabakov, The big archive, c1988 Scanned from: Ilya/Emilia Kabakov, Monument to a lost civilization/Monumento all civilta perduta, Milano: Edizioni Charta, 1999, p 147.

Figure 22

Ilya and Emilia Kabakov, The man who flew into his picture, c1988 Scanned from: Ilya/Emilia Kabakov, Monument to a lost civilization/Monumento all civilta perduta, Milano: Edizioni Charta, 1999, p 107. Figure 23

Ilya and Emilia Kabakov, Mother and son, c1988 Scanned from: Ilya/Emilia Kabakov, Monument to a lost civilization/Monumento all civilta perduta, Milano: Edizioni Charta, 1999, p 225. Figure 24-25

Julia Scher, Security by Julia II, installation view,1989 Mixed media, dimensions variable. 'Dark rooms', Artists Spcae, New York (NY), 1989; Julia sets I, installation view,1995. Surveillance bed, monitors, cameras, cables and mixed media, dimensions variable. Galleria Massima De Carlo, Milan, Italy, 1995. Scanned from: Riemschneider, Burkhard and Grosenick, Uta (eds) Art at the turn of the millennium, Koln: Taschen, ©1999, p 446. Figure 26

Mark Wallinger, On an operating table, 1998 Projected video installation; dimensions variable; 13 minutes (loop); Edition of 3 plus 1 artist proof. Anthony Reynolds Gallery. Scanned from: Mark Wallinger: Credo, Millbank, London: Tate Gallery Publishing Ltd, 2000, p 10.


177

Figure 27

Lyndal Jones, Prediction Piece 1, 1981 George Paton Gallery, 1981. Photograph by J Dunkley-Smith. Scanned from: Cramer, Susan and Jones, Lyndal, Lyndal Jones: the prediction pieces 1981-1991, writings and images from the archive. Sydney: Museum of Contemporary Art, 2001, p 7. Figure 28

Liam Gillick, Erasmus is late in Berlin drawing tables, 1996 (foreground) and Erasmus is late in Berlin information room, 1996 (background) Foreground: 2 blue-grey tables, laser prints on coloured paper, glass, copies of Erasmus is late; variable. Background: Clay brown, light green and blue walls, halogen spotlights, 12 card boards with collaged information, 4 sheets of text in German; variable. Erasmus is late in Berlin versus The what if? Scenario, Schipper & Krome, Berlin, 1996. Scanned from: Riemschneider, Burkhard and Grosenick, Uta (eds) Art at the turn of the millennium, Koln: Taschen, ©1999, p 175. Figure 29

Liam Gillick, Wood way, 2002 Installation view, Whitechapel Art Gallery. Scanned from: Liam Gillick: wood way. London: Whitechapel Art Gallery, 2002.

Part Three: How the project was pursued

All images without an artist's name are by Brigita Ozolins. Figures 1-3

Don't let it slip (installation view and details), 1999 Book pages, muslin, light boxes, digital images. Honours submission, Tasmanian School of Art, University of Tasmania. Dimensions variable. Figures 4-5

Digital images, unresolved work, 2000 Images on studio wall.


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Figures 6-9

My hands are tied (installation view and performance details), 2000 Book pages, muslin, antique furniture, ink, handwriting, blue tacs, hammer, daily 4 hour writing performance. Installation and performance, Foyer Installation Venue, Salamanca Place, Hobart. Dimensions variable.

Figures 10-12

I have my work cut out for me (installation view and performance details), 2001 Book pages, antique furniture, ink, sound track, daily 4 hour performance. Installation and performance at Linden Centre for Contemporary Art, St Kilda, Melbourne. Dimensions variable. Figures 13-14

Marcus Prince and Brigita Ozolins, Content, #1, (installation view and detail), 2000 Site-specific collaboration at the Fine Arts Gallery, University of Tasmania; chalk, acrylic medium, fluorescent lighting. Dimensions variable.

Figure 15-16

Voice (installation view and detail), 2001 Book pages, muslin, brushed stainless steel, toughened glass. Site specific permanent work commissioned by the State Library of Tasmania. 300cm (h) x 600ccm (w) x 85cm (d).

Figure 17

Morris Miller Library, University of Tasmania, display cabinet, 2003 650m (w) x 150cm (h) x 55cm (d).

Figure 18

CONTENT#2, 2003 Book pages, muslin, vinyl film. Site specific installation in the entrance to the Morris Miller Library, University of Tasmania. 650m (w) x 150cm (h) x 55cm (d). Figure 19

CONTENT #2 (detail), 2003 Book pages, muslin, vinyl film. Site specific installation in the entrance to the Morris Miller Library, University of Tasmania. 650cm (w) x 150cm (h) x 55cm (d).


179

Figure 20

Are you thinking what I'm thinking? 2001 Video still. Figure 21

EEG data: Writing in English, 2001 A4 digital print. Figure 22

EEG data: Writing in Latvian, 2001 A4 digital print. Figure 23

Are you thinking what I'm thinking? 2001

Digital image from video still

Figure 24

Are you thinking what I'm thinking? Room 714, 2001 Constructed room, acoustic tiles, observation mirror, fluorescent light. 250cm (w) x 200cm (w) x 300cm (h) approximately. Figure 25

Are you thinking what I'm thinking? Room 715, 2001 Constructed room, acoustic tiles, observation mirror, fluorescent light, office furniture and paraphernalia, computer, files, books, EEG data, quicktime movie. 300cm (w) x 200cm (w) x 300cm (h) approximately. Figure 26

Are you thinking what I'm thinking? Room 715, (desk detail) 2001 Constructed room, acoustic tiles, observation mirror, fluorescent light, office furniture and paraphernalia, computer, files, books, EEG data, QuickTime movie. Dimensions variable.

Figure 27-28

Are you thinking what I'm thinking? Room 715, (installation and filing cabinet details) 2001 Filing cabinet, books, files. Dimensions variable.


180

Figure 29

Booth, 2003 Stained plywood, light. State Library of Tasmania Foyer. 120cm x 210cm x 85cm Figure 30

Booth (detail), 2003 Stained plywood, light; 120cm x 210cm x 85cm

Figure 31

Reception, 2004 Light box, vinyl film.

Figure 32

Reception (work in progress), 2004 Desk, plastic plant, computer, light box, vinyl film. Dimensions variable. Figure 33-34

Trolley (work in progress), 2003-4 Cardboard storage boxes, shredded documents, plastic bags. 350cm x 90 cm x 220cm.

Figure 35

Shredding (work in progress), 2003-4 Paper shredder, documents, security bins, plastic bags.

Figure 36

Trolley (work in progress, first version), 2003 Cardboard storage boxes, shredded documents. 350cm x 90 cm x 220cm. Figure 37-8

Shredding room (work in progress), 2004 Shredded documents. Dimensions variable.

Figure 39-40

Storeroom (work in progress), 2003 Constructed room, book pages, muslin, cardboard storage boxes, shelving, metal brackets. 300cm (w) x 300cm (h) x 300cm (d) approximately.


181

Figure 41-42

Room 714 and Room 715, (entrance details), 2001 Constructed room, acoustic tiling, signage. 600cm (w) x 220cm (d) x 300cm (h) approximately.

Figure 43-44

Meeting room (work in progress), 2004 Meeting table, 4 chairs, slide projector, 80 slides, files, documents, glasses, jacket. Dimensions variable.

Figure 45

Meeting room (first version), 2003 Board room tables, 12 chairs, slide projector, 80 slides, paper, pencils, glasses. Dimensions variable. Figure 46

Digital project, unresolved work, 2001 Digital mock up for 3 gallery walls. Figure 47

Sorting and surveillance room (work in progress, detail), 2004 Grain bags, shredded documents. Dimensions variable.

Figure 48

Sorting and surveillance room (work in progress), 2004 Office furniture, recording equipment, cane-ite wall panels, shredded images, pins. Dimensions variable. Figure 49

Sorting and surveillance room (work in progress, detail), 2004 Canite wall panels, shredded images, pins. Dimensions variable.

Figure 50

Are you thinking what I'm thinking? (directional sign), 2001 Vinyl lettering.

Appendix Two: Other work Figure 1

Collaboration with Sandra Alcorn, Now I lay me down to sleep, (installation view), 2000 Organza, perspex, hair. 350cm x 140cm x 70cm.


182

Figure 2

I don't want to talk about it (detail), 2001 Exercise book, handwriting, ink, student desk. 75cm x 50cm x 70cm.

Figure 3

Méditations (detail), 2002 Book pages from Descartes Méditations, handwriting, ink. 250cm x 150cm. Figure 4

Digital books, 2002 Paper, cardboard, digital images. Each book, 9cm x 6cm. Figure 5

Inhabitation (installation view), 2002 Wood, resin, framed print, silkscreen on wallpaper. Dimensions variable. Figures 6-7

Living history (installation views), 2003 Antique furniture, convex mirror, black velvet, sound track, journal, handwriting, framed copy of silver gelatin image of Sarah Bisdee, books. Dimension variable. Figure 8

Are you thinking what I'm thinking? 2001 Digital print. 95cm x 125cm. Figure 9

CONTENT #3 (detail), 2003 Frosted glass, cardboard; 75cm x 55cm x 35cm. Figures 10-11

The Library (installation details), 2003 Wood, metal, bitumen, ink, books, red paint, projection, chair. Table: 900cm x 120cm x 80cm. Figures 12

The Library (bibliomancy performance detail), 2003 Wood, metal, bitumen, ink, books, red paint, projection, chair, typewriter, reading lamp, catalogue cards. Dimensions variable.


183

Figure 13

Palimpsests, 2003-4 Antique pages, handwriting, ink, antique table. Dimensions variable. Figure 14

Second sight: the vision of Dr Roland Pope, 2004 Convex mirrors, perspex, digital image. Large disc: 135cm diameter. Smaller disc: 80cm diameter.

APPENDIX FIVE: CURRICULUM VITAE

184

BRIGITA OZOLINS: CURRICULUM VITAE

Personal

Born 1954, Melbourne Moved to Tasmania in 1983

Education 1999 BFA Hons, (First Class) University of Tasmania 1986 Graduate Diploma of Librarianship, University of

Tasmania 1979 BA, Monash University, Victoria

Solo Exhibitions 2003 The Library, CAST Gallery, Hobart, Tasmania.

Living History, installation and performance in Tasmaniana Library, State Library of Tasmania, Hobart. CONTENT (#2), site specific installation in entrance foyer to Morris Miller Library, University of Tasmania, Sandy Bay.

2001 I have my work cut out for me, performance & installation, Linden Centre for Contemporary Arts, St Kilda, Melbourne. Voice, site-specific permanent installation commissioned by State Library of Tasmania, 91 Murray Street, Hobart.

2000 My hands are tied, performance & installation, Foyer Installation Space, Hobart.

1998 I know where I’m going, 5 day performance installation, Entrepot Gallery, Hobart.

1997 Important Idea, 3 day intervention on exterior Italian Pavilion, Venice Biennale, Italy.


185

Collaborations 2001 6=9, with Sandra Alcorn, CAST Gallery, Hobart,

Tasmania; University of Tasmania North West Centre Gallery, Burnie, and Launceston University Gallery.

2000 CONTENT (#1), with Marcus Prince, Fine Arts Gallery, University of Tasmania, Hobart.

1999 Folksong, with Dawn Csutorus, sound performance, Peacock Theatre, Hobart.

1998 Alias Art, artist in residence with Anne Mestitz, created a multimedia installation at Northgate Shopping Centre, Glenorchy, Tasmania.

1997/8 Odyssey, with Dawn Csutorus, installation in a shipping container, Hobart Summer Festival and Hobart School of Art.

1996 Pilgrimage, with Dawn Csutorus, landscape installations between Hobart and Launceston, Tasmania.

Group Exhibitions 2001 <LOOK>, Hunter Art 1: Art Tourist, Newcastle Region

Gallery, New South Wales. IXL Show, Plimsoll Gallery, Tasmanian School of Art, Hobart.

2003 Inaugural Poimena Art Award, Poimena Gallery, Launceston, Tasmania. Foyer, State Library of Tasmania, Hobart.

2002 Cite Internationale des Arts Group exhibition, Paris, France. 7 Warehouses, Long Gallery, Salamanca Place, Hobart. With a French Accent, Despard Gallery, Hobart.

2001 Touching from a distance: a Hobart and Perth exchange, Moores building, Fremantle, Western Australia, and Foyer, Hobart, Tasmania. Figure it, Plimsoll Gallery, Hobart.


186

2000 6=9, CAST Gallery Hobart; University North West Centre Gallery, Burnie, and Launceston University Gallery

1999 Hatched, Perth Institute for Contemporary Art, Perth, Western Australia. Trust Bank Art Exhibition, Inveresk, Launceston. Person/art/place, Hobart Fringe Festival, Legal Aid Office, Hobart.

1998 Hutchins School Art Prize, Long Gallery, Hobart. CAST Members Show, Cast Gallery, North Hobart. Alice Springs Art Prize, Araluen Arts Centre, Alice Springs, Northern Territory. The Box, Entrepot Gallery, Hobart. A Flourishing Ecology: a survey of Tasmanian Printmakers, Long Gallery, Hobart, Tasmania.

1997 CAST Members Show, Contemporary Art Services of Tasmania Gallery, Hobart. Hutchins School Inaugural Art Prize, Long Gallery, Hobart. Trust Bank Art Exhibition, Launceston Show Grounds, Tasmania. Body Works, Sidespace Gallery, Hobart. Soundscapes, Carnegie Gallery, Hobart.

1996 Kissing the Blue Tongue, Long Gallery, Hobart. Trust Bank Art Exhibition, Launceston Show Grounds, Tasmania.

1995 Kicking the pig, Long Gallery, Hobart.

Grants, Awards, Commissions, Residencies 2003 Pat Corrigan Artist Grant 2002 Arts Tasmania Project Grant

Rosamund McCulloch Studio Residency, Cité Internationale des Arts, Paris, France (May-June 2002)

2001 State Library of Tasmania Art Commission (permanent work in foyer of State Library Building, Murray Street, Hobart)


187

Australia Council London Studio Residency (Jan-April 2002)

1999 Australian Postgraduate Award to undertake PhD Awarded the University Medal, University of Tasmania

1998 Moonah Arts Centre Artist in Residence Grant (with Anne Mestitz)

1997 First Prize Trust Bank Student Art Award 1996 First Prize Trust Bank Student Art Award (acquisitive)

Collections

Trust Bank Collection, Queen Victoria Museum and Art Gallery, Launceston, Tasmania. Private collections in Hobart, Melbourne, Sydney, Adelaide and Germany.

Bibliography 2004 Kelly, Philippa, 'Letter from the Lower Hunter', Art

Monthly (Australia), No 169, May 2004, p25-29 Hedger, Michael, 'Endless exploration', The Herald Weekender (Newcastle), 02/021/04, p 14 Stowell, Jill, 'Portrait of the artist', The Herald Weekender (Newcastle), 02/014/04, p 14 Gates, Merryn, Hunter Art 1: <LOOK> artists and society. [Newcastle]: Newcastle Region Art Gallery, 2004.

2003 Kunda, Maria; Ozolins, Brigita and Edwards, Michael, The Library: Brigita Ozolins, Hobart, Tasmania: CAST Gallery and Brigita Ozolins, 2003 Kunda, Maria, '7 Warehouses', Artlink, Vol 22, #4, 2003, p86-87 Goulet, Rose-Marie, 'Carnet de voyage Australien/An Australian diary', Espace, No 63, Printemps, 2003 p 26-32 Rankin-Reid, Jane, 'The creativity of adopted agony', The Sunday Tasmanian, 15/09/02; 'Writing reflection', The Sunday Tasmanian, 09/03/03


188

2002 Warburton, Annie, '7 Warehouses', interview, Sunday Arts program, ABC Radio National, 13/10/2002 Knights, Mary, '7 Warehouses', Catalogue essay, Salamanca Art Centre, 2002 Sayers, Andrew, 'Rethinking Australian portraiture', Art Monthly Australia, No 146, Dec 2001-Feb 2002, p 27-30 Kelly, Sean, 'Touching from a distance', Artlink, Vol 22, #1, 2002, p88

2001 Arts Today, ABC Radio National, interview by Elisa Berg, 4/10/2001 Kunda, Maria, ‘Figure it’ Catalogue essay, Plimsoll Gallery, 2001

2000 Blythe, Richard, ‘6=9’, Monument, No 39 Dec – Jan 2000/2001 Ball, Jessica, ‘6=9’, Catalogue essay, CAST, 2000 Andersch, Joerg: ‘6=9’,The Mercury, 13/8/00; ‘Content with an obscure meaning’, The Mercury, 27/5/00; ‘The Limitations of Language’, The Mercury, 18/3/00 Kelly, Sean, ‘My hands are tied’, Artlink, v20 #2, p95-6 ; “Brigita Ozolins has a way with words”, Art Monthly, April 2000, # 128, p42 Maxwell, Helen, ‘Reflections on the latest Graduate Shows’, Art Monthly, May 2000, #129, p 7-10 ‘Don’t let it slip’ reproduction of 3 images, Siglo, Summer 2000 ‘Brigita’s novel approach to art’, The Mercury, p7, 11/3/00 Andersch,Joerg, ‘The Limitations of Language’ The Mercury,18/3/00

1998 “Alias Art” , The Mercury, 4/7/98; 'I know where I'm

going', The Mercury, 25/4/98 Lamb, Eve, ‘It’s interesting, it reaches out to people – and, yes, it is art’, The Mercury, 25/6/98

1997 Andersch,Joerg, ‘Mystery Odyssey into a Shipping Container’, The Mercury, 27/9/97


189

Conferences and presentations 2003 Installation: style or strategy? Refereed paper,

ACUADS Conference, 1-4 October 2003, Tasmanian School of Art. Visual Arts presentation, Royal Australian and New Zealand College of Psychiatrist’s 38th Congress, Hobart, Tasmania, 12 - 15 May 2003. Forum presentation, Moonah Arts Centre, Tasmania, October 2003 Living Artist Week: presentations in State Library of Tasmania and Tasmanian School of Art, Hobart

2002 Are you thinking what I'm thinking? Paper presented at Consciousness Reframed 2002: non-local, non-linear, non-ordinary. 4th International cAAiia Star Research Conference (University of Wales, UK), Perth, Western Australia, 1-4 August 2002 in association with BEAP, the Biennale of Electronic Arts Perth, 2002

2001 Portraiture and place, artist's panel and presentation, National Portrait Gallery Conference, held at the University of Tasmania, 2001

The power of the word : art and text in the 20th century, Linden Contemporary Art Gallery Forum, St Kilda, Victoria, 2001 Forum presentation, Elizabeth College, Hobart, Tasmania 2001

1999 I know where I'm going, paper presented at the Simone de Beauvoir Conference, Philosophy Department, University of Tasmania, 2002

appendix one: list of submitted work

Documents