Murray Darling Palimpsest #5

Film - Sophie Boord, 'Denise James', 2007

Courtesy of Sophie Boord and Mildura Arts Centre

Film - Sophie Boord, 'Denise James', 2007

DENISE JAMES: My work has probably always been about memory. The work I did for "Palimpsest 5" was a celebration, I think, of women's lives, usually young women that died in childbirth. Usually their child would die shortly afterwards-- sometimes, but not always. And what I was interested in was how their lives were marked, and that was usually in the headstones.

It started in a number of ways. My husband's family lived in this area, and his aunt-- great-aunt, I suppose it would be-- at the tender age of 14 was baking bread. She caught on fire and her burns killed her. And my husband David and I thought that we would like to find her headstone and whether she really did exist. That was the other thing, as well. And we did find her headstone, and so I frottaged it.

And then because the paper was so new, I didn't like the white. So I thought, oh, look, I'll put a light wash over it. And what actually happened is that the paper started to disintegrate before my eyes. And I was devastated.

But then I thought, no, it's not a bad thing. It actually adds to the whole feeling of the fragile nature of life. And that started me thinking of the tough life that women would have had. So making the petticoats as a carapace, or a skin, to represent women seemed like a good idea.

Some of the other petticoats are mended and stitched. But this particular petticoat, I decided to leave it in its disintegrated form.

I drove all around the district looking in old graveyards. So when I frottaged, except for one or two, I left out names or I only took part of a name, just in case there's relatives around there still that would be offended. So I was mindful of those sensibilities.

That word "sacred" seemed to be very prominent in most of the headstones that I looked at. This is probably a good example. "Our Dear Daughter," and I've left her name out. And she died on the 31st of March, 1916, at 13 years.

This is another one. This is a whole story. This is that "sacred" again. And that's to the memory of the beloved child of whatever the child's name. And then there's a number of children in this grave.

When I actually wet this one, it started to fall to bits. But I mended as well, just to show that, yeah, women can-- we're soft and squashy, but there's a resilience. And we can mend and press on.

Here's another one. This one's particularly sad. Actually, it was a very melancholy time for me, going into graveyards. I'd often come home from one of my trips and feel absolutely devastated, and had to sort of think about other things for a while.

This is one that I chose not to frottage. I frottaged 20 and left 8 blank. And the reason I did that was to commemorate women that had died and had unmarked graves and also indigenous women. I know that they suffered greatly.

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Courtesy of Sophie Boord and Mildura Arts Centre

In this video Denis James discusses her work and how it is informed by women's history, work, motherhood and relationship to the land.

Visiting graves of young girls and women who died in childbirth, Denise takes the form of the petticoat, and uses the ephemeral quality of paper to record fragments of tomb inscriptions with frottage. Denise James is a Mildura based artist, and teaches at Latrobe University.

Film - Sophie Boord, 'Robert Watson', 2007

Courtesy of Sophie Boord and Mildura Arts Centre

Film - Sophie Boord, 'Robert Watson', 2007

My work for Palimpsest involved the road. We get in the car, reverse out of the driveway and bingo. You're on that surface. And people have just become that used to it being there. I don't think they actually even give it any consideration. So my work was titled Consider the Road.

My work involved lots of studies. As most people are aware, on the road surface with the heavy vehicles, lumps of road are removed. The surface is consistently removed. So there was already natural etching. A print process was occurring on the road.

And so I physically attached my print plates to the road surface. And I left them there for a period of time. I think they were there for like a month. Or some of them were there for two months. So they incurred scratches and scarring and all sorts of damage.

And they became surfaces that I could take studies from. This one in particular probably illustrates not just the textural surface of the road but the movement of tires and traffic. It definitely shows the heavy embossing and indentations within the surface.

These two studies, again, they were created with steel printmaking plates. And they were very small studies where I was able incorporate a lot more texture and detail. Once I've gathered together quite a few images investigating the road, I thought, well, now it's time to formalize my imagery in some way.

And this was an oil and enamel study. It shows the texture of the road. The scarring and movement that we see as we're traveling on the road. And the small areas of glass beading indicate the water vapor when it rains here occasionally. We do actually see textures like that.

Again, to formalize my imagery, I started gathering my images together. When you look at these surfaces, you can see the gray darkness where I have actually commenced doing a road study. And then through the process of print, I've introduced a more natural color. I've stitched these as a method of attaching them.

And also drawing the view into a probably more densely embossed area. Or heavily inked area. So often the, closer you get to the work, the more surface activity you will find. In the sense of Palimpsest, I thought, I'm doing the road. Let's get big here.

So I started doing studies 10 meters long. And I started collecting wallpaper. Which, in a sense of economy, was a rather wise move. So my method of installation was to secure it and allow it to drape down the wall. And virtually install them on the surface of the floor within the gallery context.

These are some of my print and painting studies. I was rolling them because I was carrying them on the road in my backpack with my art materials. And it ended up being a very practical method of moving them around. And essentially, they were just studies. We all constantly investigate our work. And we might necessarily use each image that we produce. So this was my way of actually gathering my images.

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Courtesy of Sophie Boord and Mildura Arts Centre

Robert Watson is a Mildura based artist, whose work featured in Mildura Palimpsest 5.

In this video Robert discusses his work and process, including an outline of the way he obtains the impressions and textures of the road: by using a type of frottage enabled by trucks, cars and other traffic in the region.

Film - Sophie Boord, 'Anjelie Beyer', 2007

Courtesy of Sophie Boord and Mildura Arts Centre

Film - Sophie Boord, 'Anjelie Beyer', 2007

ANJELIE BEYER: The story about Palimpsest for me began at Silverton. I went up there with friends of mine, Steve and Anne Hederics, and they run an artist camp which is called Artback. So up we went for Artback to Silverton, and walking daily, I started to notice that it was just one big archival treasure.

Because it's so dusty and dry, nothing is lost, really. It just comes back up through the dust. And I would pick up bits of willow pattern china; and different beautiful, little bits and pieces of cups; and brown china; and hospital china-- old bits of tin. And in themselves, they're beautiful patina but also, they told a story. The story was about the people who had lived in this hostile environment and who had drunk out of gorgeous little cups with beautiful little scenes painted on it.

I just liked the looks of them as much as anything-- yeah, the evocative history in them but also the looks of them. So I started putting them together and making new little scenarios. And I did that without any thought in mind of having an exhibition. But then eventually, Palimpsest 5 came along, and these little bits of Gardens of Eden-- as I call them-- work perfect for a Palimpsest, which means a manuscript rewritten and rewritten and so on.

So put those together for an exhibition, and set it up with an installation as well which had luscious ladies in gowns, and quinces on a plate, and paperbacks on an old-fashioned little table. And the titles of the paperbacks often refer to some of the little images as well.

One of the major pieces-- and one of my favorite ones-- is the "Temple of the God of Small Things," which is a book by Arundhati Roy that's made out of just a big tin tray with two table legs made out of metal. A lot of metal is left over because the wood would have deteriorated. And the top of a small 4-gallon drum or something-- just those three or four shapes put together become a temple.

And that's really how I work all the time, I think. I can use found objects and put them into a new juxtaposition, and then they start to mean different things-- and lots of levels of meaning. And just these few bits of tin out of the desert become this glorious edifice for gods, the god of small things. That's the thing that I absolutely love about art, that you can keep referring and keep bringing things into new juxtapositions and getting a thrill out of them each time.

I spoke to my friend Anne Hederics, whom I've mentioned, and she and I put together the idea of the willow pattern story. And we invited other artists, and we put that on as a big exhibition here and at the Dandenong Gallery. We had people speaking about the willow pattern. And it's just this major thing. Willow pattern china is major. So from these little broken things in the ground, I found this major lot of references to lots of people's lives. Everybody's grandma had willow pattern.

There seems to be a thread always running through what I do, and the thread leads to new things-- new ideas. You don't really get ideas on as you're doing stuff, I find. If you are busy, then you will discover-- as my friend says-- paths. I think I explore myself probably through these things.

The other thing that happens with me is that I get really very keen on how it looks on the surface of the work and how will the objects-- how all the shapes in the work and the color-- how they all sit together. And that gets me very excited as well.

Back to the Temple of the God of Small Things, it's only rubbish-- rusty tin and broken legs of a table and a yellow, bent bit of round stuff. But the patina on them and the relationship of the shapes, just give me the biggest thrill. And I don't think I would make art unless I kept thrilling myself with these things that have a life.

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Courtesy of Sophie Boord and Mildura Arts Centre

Film - Sophie Boord, 'David Waters', 2007

Courtesy of Sophie Boord and Mildura Arts Centre

Film - Sophie Boord, 'David Waters', 2007

The whole idea came from what Palimpsest is about, which was combining art and science. The idea was to do something huge, like on the scale of the big ram. That's a gigantic sculpture, might be even bigger. And it was a different kind of spin on the Australian idea of making big things to represent an industry in a town. But then that was impossible in that getting funding to doing something so big was out of the question, so I just adapted it to being a market and an idea to present as a piece.

The piece that was in Palimpsest was just set up as a mini tourist attraction. The molecule's made out of steel and ceramics. Those little balls are ceramics. And it's about 60 centimeters high. And I just laid down local dirt and earth and rocks and stuff to make it look like a landscape. And then I had little buses there-- you might be able to see a little bus-- to signify a tourist destination.

This is the picture that was on the wall behind the actual installation, and it just shows another variation on the way the molecule could be built or installed in the landscape. And this would probably be the type of landscape that it would go in.

All these coincidences-- all these things that related to salt happened at the time that I had the idea. The first thing that happened was that I was watching a-- it was Countrywide or something on the ABC. And some people up in Pyramid Hill, where they've got a salinity problem, they were extracting the groundwater from the water table and putting into these big pools and evaporating it to produce salt to sell. That sort of was an idea that it was helping the environment because it was lowering the water table.

And so I thought, I'll target them to see what they think of this idea so it's actually got a town where it works in with an industry. But then I had to go up to Lake Eyre to do something, and I thought I'd take up all the rodding that I'd done and the idea because something was sure to happen up there because of Lake Eyre and the salt.

And then just the night before we left, we were by the fire and this bloke walked up and ends up he's an industrial engineer. And also he'd been working with salt. And I thought, ah, that's it. That's the connection.

And it turns out that he'd actually been working with this farmer who lived next door to this place that was extracting the groundwater and just said that water isn't rising. That's just a myth. And the salt that's there is produced from the millions of tons of superphosphate that's put down. And it's just a simple chemical equation because there's acid in superphosphate, I think. So when you put acid with water it produces salt.

Anyway, this farmer had sort of dedicated his life to shining light on this idea or the truth of it. It didn't really make any difference to the salt molecule. It stood up even better. It sort of reflected more on chemical companies after that, and it's something that should be outside a chemical company.

There's also things about salt in the body because we are salt, basically. We are salt water-- 80% or 90% salt water. So that's us. We are this.

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Courtesy of Sophie Boord and Mildura Arts Centre

David Waters is a Melbourne and Redesdale based artist.

Here he discusses his work Giant Salt Molecule Project and the coincidences that have converged around the work, recalling the drawing power of the salt molecule, that of absorption. Involving issues of salination, land use, and the phenomenon of giant tourist attractions, Giant Salt Molecule Project appeared in Mildura Palimpsest #5.

Art, other - Tamsin Salehian, 'Forest Body', 2003

Courtesy of Tamsin Salehian

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Courtesy of Tamsin Salehian

Pine forest in Australia is the antithesis of wilderness. Yet when entering the muffled body of mature pine the mystery of otherness asserts itself.

Tamsin Salehian has been involved in both environmental and artistic projects for the last ten years, working both here and in the UK, recently winning the Gabriel Gallery Award, and short-listed for the Baldessin Fellowship.

Pine needles, wax, photograph, plastic, text

Mixed Media - Philip Schofield, 'Salinity', 2003

Courtesy of Philip Schofield

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‘Salinity’ is informed by the effects of salination on the river systems; the work refers to measurements…. Measurements of salinity, of ecological damage etc. The banded poles are referential of river height markers.

Dr Philip Schofield is a Conjoint Professor of Fine Arts at the University of Newcastle.

Sculpture - Ian Tully, 'Vessel', 2003

Courtesy of Ian Tully

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Courtesy of Ian Tully

Collection of household containers refers to the domestic process of collecting and managing a liquid. This runs parallel with the notion of rivers, dams and channels performing a similar function.

Concrete, Steel, Found Materials

Artwork, other - Josephine Roebury, 'Vestigial Ground', 1996-2001

Courtesy of Josephine Roebury

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The white, the salt, the dust.

Josephine Roebury has a background in environmental design and community arts. She is currently based in Melbourne and has exhibited in Sydney and Alice Springs.

Oil on cotton canvas

Mixed Media - Jane Gavan, 'Landscape #2 - Surface Document', 2003

Courtesy of Jane Gavan

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Courtesy of Jane Gavan

Planes of patterned glass obscure the land and float above it, from a distance, an apparently elevated notion of a superior surface, with proximity, the details of damage of this new surface become evident.

Jane Gavan is a full time lecturer in the glass studio at the Object Art and Design studios at Sydney College of the Arts at the University of Sydney. Since 1998 Jane has exhibited sculpture and glass design work nationally and internationally, her last solo exhibition was a series of experimental glass vessels at the Galarie Sarver in Paris, France. Jane is currently working on an exhibition for the Sydney Botanical Gardens for September 2003.

Glass & Metal

Artwork, other - Edwina Kearney, 'Earth/Hearth', 2003

Courtesy of Edwina Kearney

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Courtesy of Edwina Kearney

Earth/Hearth traces the journey and transition of the mallee root from a source of water to a source of fire.

Mallee roots from Dunnings wood yard Melbourne & stainless steel wire

Artwork, other - Kellie Guild, 'Little Boxes', 2003

Courtesy of Kellie Guild

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Courtesy of Kellie Guild

Little Boxes explores issues that everyone can identify with, finding a home. Everybody needs shelter; but increasingly it is becoming more of a consumerist symbol about an individual's status in life.

The current boom in the property market, the lifestyle programs that are bombarding our television screens - do you really need another lifestyle tip? Probably not.

Synthetic polymer paint on modrock

Mixed Media - Fiona Forest Keegel, 'Meandering Time', 2003

Courtesy of Fiona Forest Keegel

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Courtesy of Fiona Forest Keegel

Meandering Time delves beneath the surface of Mildura's history and reveals its delritus. Specimen samples collected from the area have been embedded in a non-linear timeliness informed by archaeological reports and historical writings.

Used underfelt, discarded plastic hat packaging, collected samples

Mixed Media - Geoffrey Brown, 'Lifeline', 2003

Courtesy of Geoffrey Brown

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Courtesy of Geoffrey Brown

The Murray River is an ancient water etching under severe stress because we are living (and developing) like Europeans on the driest continent on Earth.

Polypropylene pipe and mixed media

Mixed Media - Stephen & Anne Hederics, 'Perpetua', 2003

Courtesy of Stephen & Anne Hederics

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Courtesy of Stephen & Anne Hederics

Three eggs – yesterday, today, tomorrow – regeneration, sustainability and survival.

The poem invites the viewer to consider the power of their part in the process.

Steve and Anne are both visual artists working in a variety of disciplines. ‘Perpetua’ is their first collaborative work for Mildura Palimpsest.

Wood & Cloth

Sculpture - Kerryn Sylvia, 'STRAIN-GE-DEN', 2003

Courtesy of Kerryn Sylvia

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Courtesy of Kerryn Sylvia

The ‘Perfect Eden’ that can never die which is its first most basic flaw.

Metal, Aluminium En-mass

Mixed Media - Alan Tulloch, 'Loom', 2003

Courtesy of Alan Tulloch

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Courtesy of Alan Tulloch

'Loom' explores issues of land use whilst giving attention to gender stakes within Australian land management. The two piles of fenced earth were created to have reference to "productive pairs" in the human body such as gonads and breasts.

Though fencing soil is unproductive, 'Loom' draws focus to how land is managed. The texts bent into the wire are selected meanings for the word "loom". These texts demonstrate a "slipperiness" of definition which is similar to the looseness of the fenced soil, which could easily be lost in strong winds and heavy rainfall.

Fertile Soil, Wooden Posts, Fencing Wire

Sculpture - Ian Marr, 'Epicurean Pillar Stone', 2002

Courtesy of Ian Marr

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Courtesy of Ian Marr

I have used a translation of words said to have been inscribed in Epicurus' own garden in Athens to discuss questions of water, horticulture and living well, with particular reference to the "garden" of Sunraysia.

Ian Marr is an artist in stone using ancient and traditional letter-cutting techniques to create standing stones, memorials, and other landscape objects using citation of texts.

Mintaro slate

Mixed Media - Prudence Hobbs, 'Mirage', 2003

Courtesy of Prudence Hobbs

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Courtesy of Prudence Hobbs

A juxtaposition of environment.

Mixed Media/Photographic installation

Artwork, other - Greg Fullerton, 'Bird Colony', 2002-03

Courtesy of Greg Fullerton

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This media item is licensed under "All rights reserved". You cannot share (i.e. copy, distribute, transmit) or rework (i.e. alter, transform, build upon) this item, or use it for commercial purposes without the permission of the copyright owner. However, an exception can be made if your intended use meets the "fair dealing" criteria. Uses that meet this criteria include research or study; criticism or review; parody or satire; reporting news; enabling a person with a disability to access material; or professional advice by a lawyer, patent attorney, or trademark attorney.

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Courtesy of Greg Fullerton

A colony of several hundred small-scale morph like bird creatures are placed within an urban setting.

This scene proposes to question the nature of avian habitats within an increasing and expanding technological advancing world, the encroachment upon bird species and the evolutionary survival changes necessary for birds to adapt to the changing conditions of their environs.

Greg Fullerton has exhibited throughout Australia, Europe & UK and is represented in many collections.

Unfired clay sculptures, plywood, digital ink jet prints

Photograph - Jennifer King & Anne-Maree Taranto, 'The Gallery of Saliferous Demise', 2003

Courtesy of Jennifer King & Anne-Maree Taranto

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Courtesy of Jennifer King & Anne-Maree Taranto

A taxonomy of salinity affected species in the Murray Riviera.

Digital Prints

Artwork, other - Denise James, 'Sacred; to the Memory of Every Woman', 2003

Courtesy of Denise James

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Courtesy of Denise James

Women, often overlooked for their contribution to the changing landscape, are acknowledged here for the transitory nature of their lives, and the lasting changes they contributed, using the symbols (where possible) of their extinguishment.

Chinese hand made paper, sewing cotton & graphite

Photograph - Narelle Howden, 'Untitled', 2003

Courtesy of Narelle Howden

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Courtesy of Narelle Howden

For the previous six months my practice has been inspired by discarded bottle tops embedded in supermarket carparks, footpaths & gravelled surfaces.

These "undiscovered" remnants catching a glint as we speed along the Calder & Sturt Highways are now a common feature of our once unsullied landscape.

Mixed Media - David Waters, 'Giant Salt Molecule Project', 2002-03

Courtesy of David Waters

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Courtesy of David Waters

There is a well recognised Australian tradition of enlarging symbols of local industries that represent the local communities focus. The idea of a Giant Salt Molecule serves in this way to represent our focus on the issue of salination.

David Waters is a Melbourne artist who works and lives in a studio in Thornbury. This idea stems from Fluxus and Construction in Process. He has exhibited in numerous solo and group shows including public works across a broad range of subject matter.

Mixed Media

Artwork, other - Elizabeth van Herwaarden, 'Homewares, for Living Image Productions', 2003

Courtesy of Elizabeth van Herwaarden

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Courtesy of Elizabeth van Herwaarden

The only constant about life is its state of flux, "spontaneous, adaptive and alive". Growing food in the form of Mould best describes this aspect of life. It can be a metaphor for our connectedness to the living earth. When products are made from growing food the environment is brought into the domestic arena.

Transparent plastic and growing food

Mixed Media - Dragan Kostelnik, 'Containment', 2003

Courtesy of Dragan Kostelnik

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Courtesy of Dragan Kostelnik

Our notion of survival in the landscape will always rely upon the containment of external forces (eg drought, fire, flood, salination, pestilence).

The external barricade represents the encapsulation of a microcosm that signifies the fragile continent at hand, and which also alludes to the current issues of immigration (incarceration). In the battle of survival, we will always be the captured alien prisoners of the great southern vastness…

Mixed Media

Painting - Pauline Bartels, 'Wetland Wet & Dry Patterns', 2003

Courtesy of Pauline Bartels

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Courtesy of Pauline Bartels

My work shows patterns of lagoons, billabongs, ox bows and creeks by the vegetation that remains above the water during a flood event over the Wallpolla Island system.

Gouache Painting Mounted/Framed

Mixed Media - Jane Poynter, 'Uncovered', 2002

Courtesy of Jane Poynter

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Courtesy of Jane Poynter

We all write our stories on the land. The slippage in the narrative occurs when the story-tellers (here the people of Broken Hill) consider their home on the 'other' not a place in which to live.

Inkjet on drafting matte, vinyl lettering

Mixed Media - Duke Albada, 'Unity', 2002

Courtesy of Duke Albada

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Courtesy of Duke Albada

One Entity, Intersected, United. Place making via several public art installations for Councils and commercial organisations. Always striving to give the visitor an experience.

Mixed, Light, Acrylic, Tiles

Mixed Media - Giuseppe & Fiona Filardo, 'RE-prefix: Once More; Afresh; Anew: Reactivate, 2003

Courtesy of Giuseppe & Fiona Filardo

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Courtesy of Giuseppe & Fiona Filardo

The world as we see, smell, touch, hear and experience it today is a palimpsest of what was once before.

We believe that all matter, life and the elements that exist on earth are continually reused in different forms. We acknowledge the past, present and future directly and indirectly making reference to Mildura's environment.

Fiona is a scientist currently finishing off her PhD studies with La trobe University and CSIRO Merbein.

Giuseppe is a local practising artist and teacher, his work ranges from sculpture, drawings, paintings and installations.

Rocks, sand, soil, metal, wood, water, grass, worms, brick bones, air, glass & wax

Artwork, other - Neil Fettling, 'Drought 2003', 2003

Courtesy of Neil Fettling

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Courtesy of Neil Fettling

Despite neo post-colonial dreams of ‘drought proofing’ Australia, this work calls for a new debate about rural water rights, new ethics for water use and river management practices.

Installation

Artwork, other - Susan Edmunds, 'Jewel of the Murray, Land of Plenty', 2003

Courtesy of Susan Edmunds

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Courtesy of Susan Edmunds

Looking at the flipside. Work is symbolic. Lettering & trees = tourism; Red = reference to meaning of Mildura - red earth and rich fertile soil; Blue = river, life source, entertainment; Yellow = danger - outcomes of abuse & pictures = the outcomes.

Cardboard, Enamel Paint, Card, Coloured Prints

Sculpture - Anjelie Beyer, 'Tiny Gardens of Eden', 2002-03

Courtesy of Anjelie Beyer

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Courtesy of Anjelie Beyer

My work is about the tiny little myths that fill everyday: the Willow Pattern story from the cup from which we drink as we look out over the dry outback.

Anjelie teaches art part-time at Sunraysia Institute of TAFE/La trobe University Mildura and has a Studio at Nichols Point.

Mixed Media - Elizabeth McIntyre, 'Fenced In', 2003

Courtesy of Elizabeth McIntyre

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Courtesy of Elizabeth McIntyre

A personal representation of the plight of small farming families forced to sell their land and move into town. As subdivisions take place, rich farming lands join the urban sprawl.

Mixed Media - Colin Rowe, 'Drift', 2003

Courtesy of Colin Rowe

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Courtesy of Colin Rowe

An installation of two suitcases. An insight into desire, preferred futures and the meandering dynamics of pathways and journeys.

Installation of two suit cases

Mixed Media - Martin Clancy, 'In Search of the Inland Sea', 2003

Courtesy of Martin Clancy

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Courtesy of Martin Clancy

One of the main aims of most expeditions in the 19th century was to determine the presence of an Inland Sea. Sad to say this was never a reality; beyond the glimpse of the occasional mirage on the horizon.

Mixed media on magnani paper

Mixed Media - Yvonne Beyer & Peter Peterson, 'Who?', 2003

Courtesy of Yvonne Beyer & Peter Peterson

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Courtesy of Yvonne Beyer & Peter Peterson

These photographs were taken in the Mildura Shopping Mall on 19/4/03. The (found) landscapes of Mildura river scenes are romantic interpretations of the natural landscape.

It’s about cultural layering – the people of our contemporary society, the bush – the way it was. Earth spirits swim through time. The ancient is still with us.

Found Paintings, Photographs, Acrylic Paint

Print - Colleen Morris, 'Trail of Water - Riverine Lakes', 2003

Courtesy of Colleen Morris

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Courtesy of Colleen Morris

By constructing a visual metaphor of the meander of the river system/riverine lakes I make an artist’s statement about waterpaths, referencing environmental and aesthetic concerns.

The Murray-Darling river system is in a state of environmental degradation, in need of a well-planned strategy to regenerate and maintain its health.

Digital photographic print

Drawing - Carolyn Sanders, 'River Story', 2003

Courtesy of Carolyn Sanders

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Courtesy of Carolyn Sanders

As the source of all life in the region the Murray River gets in your blood. I now live in the Riverland of South Australia overlooking the vast floodplains.

These drawings are among a series of 25, they are reflections of the River, moods of the landscape and stolen moments. The Murray River has had much publicity about the environmental disaster encroaching on it.

Indian Ink on paper

Mixed Media - Vicki Reynolds, 'Scales of Indifference (inclination/declination)', 2003

Courtesy of Vicki Reynolds

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Courtesy of Vicki Reynolds

Anglo/European farming and gardening techniques have had an enormous impact upon the indigenous flora and fauna of Australia. There has been little examination of the possible sustainable farming/production of indigenous plants and animals which are more suitable to the climate and soils available.

Mixed media, redgum wood, melaleuca wood, aluminium, stainless steel, wheat, rice, grapes, salt, water, mallee soil, paper made from Kangaroo grass, Wallaby grass, Dianella lily, Meleleuca, Cumbungi, and some cotton

Welcome

Search Victorian Collections

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Murray Darling Palimpsest #5

Film - Sophie Boord, 'Denise James', 2007

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Film - Sophie Boord, 'Robert Watson', 2007

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Film - Sophie Boord, 'Anjelie Beyer', 2007

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Film - Sophie Boord, 'David Waters', 2007

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