Sensing the silence: Mary Kathleen

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(1)This file is part of the following reference:. Mulcahy, Jennifer (2008) Sensing the silence: Mary Kathleen. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/8003.

(2) SENSING the SILENCE: MARY KATHLEEN. A thesis submitted with creative work in fulfilment of the requirements for the degree of. DOCTOR OF PHILOSOPHY at James Cook University by. Jennifer Kaye Mulcahy Graduate Diploma Visual Art (Monash University) Diploma of Visual Art (Warrnambool Institute of Advanced Education & Barrier Reef Institute of TAFE ) Certificate of Tertiary Teaching (James Cook University ). 2008 School of Creative Arts.

(3) Statement of Access. I, the undersigned, author of this work, understand that James Cook University will make this thesis available for use within the University Library and, via the Australian Digital Theses network, for use elsewhere.. I understand that, as an unpublished work, a thesis has significant protection under the copyright act and;. I do not wish to place any further restriction on access to this work.. -------------------------------------------- ----------------------------------Signature. Date. ii.

(4) Electronic Copy. I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of technology available.. ____________________________. ____________. Signature. Date. iii.

(5) Statement of Sources Declaration. I declare that this thesis is my own work and has not been submitted in any form for another degree or diploma at any university or other institution of tertiary education.. Information derived from the published or unpublished work of others has been acknowledged in the text and a list of references is given.. __________________________. __________________. Signature. Date. iv.

(6) STATEMENT OF CONTRIBUTION OF OTHERS Support for the completion of the thesis and practice was obtained via the following sources. Fees: Study was supported through an RTS place awarded by James Cook University Supervision: Supervision was overseen by • Professor Diana Davis - Principal Supervisor • Doctor Stephen Naylor Any other assistance: Financial assistance • was provided by the Perc Tucker Regional Gallery, Townsville City Council, who provided funding for both the exhibition and the exhibition catalogue in 2006.. v.

(7) Acknowledgements This research project has been undertaken in the quest for increased knowledge and personal development but coincided with a period of great change within the creative arts school of the university. This change has resulted in the demise of the traditional disciplines of ceramics and sculpture giving the artwork that emerged as a result of the research a particular poignancy and place in the history of the university. The bronzes were the last to be cast in the foundry and the ceramics and cast glass works the last major works to be fired in the JCU kilns.. In 2006, as the major works neared completion, the studio at the then JCU COMVAT (College of Music, Visual Arts and Theatre) campus at Vincent was literally being dismantled and packed up around me. Looking back on that period it is hard to imagine a worse scenario or less facilitatory environment for the production of major works. That the work was able to be completed in time for the exhibition is thanks to the great support I received from my family, supervisors, colleagues, and friends.. Practical advice and assistance in the preparation and casting of the bronze works was provided by my then supervisor, and head of the sculpture department Jane Hawkins, whilst advice on the cutting and polishing of cast glass was provided by friend and colleague Jude Bohm-Parr of Studio 8 in Cairns. I am greatly indebted to both, and also to friends and colleagues Tony Cuthbertson and Richard Gillespie who assisted with solutions for installing one of the major works, and to Richard for his assistance with excel and the formatting of tables.. vi.

(8) The inclusion of Peter Dombrovski’s image of Rock Island Bend on the Franklin River was made possible by the generosity of Liz Dombrovski, who, in addition to giving me permission to use the image went out of her way to provide a high resolution copy. The use of Peter Fusco’s images of the child victims of Chernobyl was made possible by the responsiveness of the London base of the Magnum Photographic Agency.. Thanks to the support of Dr David Salisbury another dimension was added to the exhibition via the inclusion of sound. Composed by then music student, Nick Webb, the aural interpretation of the research sites added a further depth to the atmosphere emanating from the art work during the time it was on exhibition.. I am deeply grateful to my principal supervisor Professor Diana Davis for her ongoing commitment to seeing my work through to conclusion. Her clarity of thought, advice and genuine interest in my research has made the journey well worthwhile. My sincere thanks also, to Dr Stephen Naylor who, since undertaking my supervision, has been available and ready with advice whenever needed.. To my family… sons Juan and Nick and husband Andrew for their patience, understanding, and willingness to assist when and where ever needed, my love and grateful thanks.. vii.

(9) Abstract This research aimed to develop a personal visual response to identified qualities of silence. Its explorations of those qualities of silence intrinsic to specific landscapes culminated in artwork designed to connect with the viewing audience at a deeper and more spiritual level than that of an object merely to be viewed. The hypothesis was that artwork has the potential to be much stronger and more powerful if, as well as conveying visual imagery it is able to emanate a palpable sense of a unique energy that is very much an arbiter of an individual’s response to a specific landscape? By provoking in the viewing audience a greater empathy with place, art works then have the potential to contribute to raising awareness and influencing public opinion on a range of environmental, social and political issues. These visual interpretations of silences endemic to certain locations focus on the unseen but powerful energy that fuels these silences, and which is very much the arbiter of an individual’s response to specific landscapes. Previous visits to the defunct uranium mine Mary Kathleen (located in the north-west Queensland) had prompted an awareness of the varied and strong energies inherent in the area making it an ideal location for this research. In order to demonstrate that different essences of silence could be incorporated into artwork in such a way that they could then be accurately identified by viewers of the works, it was necessary to make artwork that responded to a number of related yet very different sites. Lists of criteria were established for the selection of sites and the identification of specific areas within the study area which contained strong and varied essences of silence. On this basis a number of sites were chosen for further. viii.

(10) investigation. A data collection plan and technical experimentation plan were instigated for each of the selected sites. Whilst the artworks responded to different essences of silence sensed at the individual sites and focused on conveying these different essences, they also needed to relate aesthetically, each to the other, to ensure the cohesiveness of the final exhibition. In order to ensure the interdependence that would draw the different energies together, and yet allow sections of the exhibition to reflect unique energies, experimentation prior to the construction of the artworks was essential. Research into, and experiments with different media and construction processes were undertaken in order to complete artwork that is an empathetic response to the silence endemic to the selected sites, as well as consistent with the research concept. The resultant five years of research and construction yielded works in response to four different sites and their associated essences of silence which were exhibited at a major regional gallery. The responses to the work elicited from the viewing audience (which included the general public, media and art critics) were exceedingly positive with many written comments demonstrating the extent to which they, as viewers, had felt and been aware of in the work, the type of energy the artist had felt coming from the original site. This demonstrated that it is possible to create artwork that, in addition to visual interpretation of place, acts also as a purveyor of the essence unique to a specific place and time. Hence the greater connection and understanding from viewers to a specific place, as communicated in the artwork, gives the artwork significant immediacy and relevance to contemporary issues.. ix.

(11) TABLE OF CONTENTS CHAPTER 1 INTRODUCTION ............................................................................................................. 1 1.1. THE NATURE AND IMPACT OF SILENCE ......................................................................................1. 1.2. PARAMETERS OF SILENCE ..........................................................................................................2. 1.3. SILENCE AND THE INDIVIDUAL ..................................................................................................5. 1.4. EXPLORATION OF SILENCE.........................................................................................................8. 1.5. RATIONALE AND AIMS OF THE STUDY .....................................................................................12. 1.6. ORGANISATION OF THE STUDY .................................................................................................14. CHAPTER 2 SUBJECTIVE IMAGING .............................................................................................. 17 2.1. THE INTERPRETATION OF LANDSCAPE .....................................................................................17. 2.2. DESIRE FOR CHANGE ...............................................................................................................22. 2.3. RECOGNITION AND INFLUENCE OF INDIGENOUS ART ...............................................................24. 2.4. A NEW APPROACH TO LANDSCAPE ..........................................................................................28. CHAPTER 3 POLITICAL AND SOCIAL WINDOWS ON TO SPECIFIC SITES........................ 37 3.1. THE CONTEMPORARY APPROACH TO LANDSCAPE ...................................................................37. 3.2. POLITICAL AND SOCIAL IMPACT ..............................................................................................38. 3.3. THE ROLE OF ADVOCACY IN AUSTRALIAN ART ......................................................................45. 3.4. SENSING THE SILENCE .............................................................................................................50. CHAPTER 4 METHODOLOGY.......................................................................................................... 52 4.1. DIRECTIONS FROM PREVIOUS PRACTICE ..................................................................................52. 4.2. CONCEPTUAL DIRECTIONS .......................................................................................................55. 4.3. DIRECTIONS FROM THE LITERATURE VISUAL/RESEARCH ........................................................56. 4.4. MARY KATHLEEN MINE SITE ..................................................................................................58. 4.5. SELECTING SITES OF SILENCE ..................................................................................................62. 4.6. DATA COLLECTION PLAN ........................................................................................................65. 4.7. TECHNICAL EXPERIMENTATION PLAN .....................................................................................65. 4.8. CHOOSING THE EXHIBITION VENUE .........................................................................................67. 4.9. PLANS FOR EXHIBITION DOCUMENTATION ..............................................................................70. CHAPTER 5 GLASS AS AN ART MEDIUM ..................................................................................... 71. x.

(12) 5.1. GLASS: PARADOX AND METAPHOR..........................................................................................71. 5.2. THE FORMATION OF NATURAL GLASS .....................................................................................76. 5.3. MANUFACTURED GLASS ..........................................................................................................77. 5.4. KILN FORMED GLASS ..............................................................................................................79 5.4.1 PÂTE DE VERRE ..............................................................................................................80. 5.5. THE DEVELOPMENT OF THE STUDIO GLASS MOVEMENT IN AUSTRALIA ....................................83. 5.6. INCLUSION OF GLASS AS A METAPHOR .....................................................................................83. CHAPTER 6 TECHNICAL EXPERIMENTATION.......................................................................... 85 6.1. THE NEED FOR EXPERIMENTATION ..........................................................................................85. 6.2. GLAZE RESEARCH ....................................................................................................................87. 6.3. GLAZE TESTS ...........................................................................................................................88 6.3.1 REPLICATING THE CANADA TRIALS ..............................................................................88 6.3.2 TEST REFINEMENT ONE ................................................................................................89 6.3.3 TEST REFINEMENT TWO ...............................................................................................90 6.3.4 TEST REFINEMENT THREE ............................................................................................90 6.3.5 TECHNICAL CHECKS .....................................................................................................91 6.3.6 TEST REFINEMENT FOUR ..............................................................................................91 6.3.7 TEST REFINEMENTS FIVE AND SIX ................................................................................92 6.3.8 GLAZING OF FIRST EXHIBITION WORKS; ARCHES 1 AND 2 ............................................92 6.3.9 CONSTRUCTION AND GLAZING OF THE INHERITANCE SERIES .........................................93 6.3.10 ELIMINATING VARIANTS ..............................................................................................96. 6.4. OUTCOMES OF GLAZE RESEARCH ............................................................................................98 6.4.1 TEST REFINEMENTS SEVEN ...........................................................................................99 6.4.2 IMPLEMENTATION OF RESULTS ...................................................................................100. 6.5. TECHNICAL EXPERIMENTATION: WORKS RELATING TO THE TOWN SITE ................................101. CHAPTER 7 MARY KATHLEEN: SITE ONE, THE MINE SITE................................................ 110 7.1. INTRODUCTION ......................................................................................................................110. 7.2. SITE VISITS .............................................................................................................................111. 7.3. VISUAL RESEARCH .................................................................................................................112. xi.

(13) 7.4. CONCEPTUAL FRAMEWORK ...................................................................................................115. 7.5. PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................116 7.5.1 CONSTRUCTION OF THE ARTWORK RELATING TO THE PLANT RUINS NO1 (THE MINE SITE)117 7.5.2 ADDITIONAL WORKS ...................................................................................................120 7.5.3 TECHNICAL ISSUES ASSOCIATED WITH CONSTRUCTION OF RUINS NO 6.......................124 7.5.4 OPEN CUT ...................................................................................................................128 7.5.5 EMBELLISHING OF SURFACES ......................................................................................129 7.5.6 INHERITANCE FROM MARY KATHLEEN.......................................................................132 7.5.7 GREEN ARCH ..............................................................................................................135. CHAPTER 8 MARY KATHLEEN: SITE TWO, THE TOWNSHIP ..............................................137 8.1. SITE VISITS ............................................................................................................................137. 8.2. VISUAL RESEARCH .................................................................................................................141. 8.3. CONCEPTUAL FRAMEWORK ...................................................................................................143. 8.4. PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................147 8.4.2 CONSTRUCTION OF THE ARTWORK RELATING TO THE TOWNSHIP ................................149 8.4.3 TRANSITIONS 1, 2 AND 3 .............................................................................................150 8.4.4 HEADS ........................................................................................................................152. CHAPTER 9 MARY KATHLEEN: SITE THREE, EXISTING NATURAL LANDSCAPE........154 9.1. DESCRIPTION OF THE SITE ......................................................................................................154. 9.2. SITE VISITS .............................................................................................................................155. 9.3. VISUAL RESEARCH .................................................................................................................159. 9.4. CONCEPTUAL FRAMEWORK- BRONZES, ALTARS, ARCH, & PÂTE DE VERRE /CERAMIC WORKS .160 9.4.1 BLUE ARCH. ...............................................................................................................161 9.4.2 THE ALTAR SERIES .....................................................................................................163 9.4.3 MESSAGE STICK SERIES..............................................................................................164 9.4.4 WALL WORKS INCLUDING THE DEPARTED, THE KEY AND INHERITANCE FROM MARY ..166 KATHLEEN SERIES 1 ................................................................................................................166. 9.5. PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................167. 9.6. ALTAR WORKS .......................................................................................................................168. xii.

(14) 9.7. MESSAGE STICKS ...................................................................................................................169 9.7.1 CASTING THE MOULD FOR THE MID (GLASS) SECTION .................................................176 9.7.2 CASTING THE GLASS ...................................................................................................190. CHAPTER 10 MARY KATHLEEN: SITE FOUR, SUBJECTIVE FUTURES ............................. 200 10.1. MOVING SITES .......................................................................................................................200. 10.2. SITE VISIT IMPRESSIONS ........................................................................................................200. 10.3. URANIUM: THE VISION AND THE FALL OUT ..........................................................................203. 10.4. TOWARDS A CONCEPTUAL FRAMEWORK: CONTEMPLATING THE CONSEQUENCES .................206. 10.5. PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................209. CHAPTER 11 EXHIBITION SENSING THE SILENCE: MARY KATHLEEN.......................... 214 11.1. PRE 2006 EXHIBITION ............................................................................................................214. 11.2. THE PERC TUCKER REGIONAL GALLERY ...............................................................................215. 11.3. TRANSPORT ISSUES ................................................................................................................216. 11.4. INSTALLATION AND PRESENTATION OF WORK ........................................................................217. 11.5.1. ATMOSPHERE THROUGH LIGHTING ........................................................................................229. 11.6. THE FOUR SITES ....................................................................................................................230 11.6.1 SITE ONE: MINE AND PROCESSING PLANT .................................................................230 11.6.2 SITE TWO: THE TOWNSHIP OF MARY KATHLEEN ......................................................238 11.6.3 SITE THREE: SURROUNDING NATURAL LANDSCAPE ..................................................240 11.6.4 SITE FOUR: SUBJECTIVE FUTURES ............................................................................246. 11.7. INCLUSION OF SOUND ............................................................................................................248. 11.8. INVITATION AND CATALOGUE ................................................................................................251. 11.9. DOCUMENTATION PROCESSES ................................................................................................254. 11.10. MEDIA AND PUBLIC RESPONSE ...............................................................................................258. CHAPTER 12 DIRECTIONS, REFLECTIONS AND IMPLICATIONS ...................................... 260 12.1. INTERNAL REFLECTIONS: TAKING STOCK ..............................................................................260 12.1.1 REALISATION OF THE AIMS .......................................................................................260 12.1.2 THE INSTALLATION...................................................................................................261 12.2.1 SILENCE AMPLIFIED ..................................................................................................262. xiii.

(15) 12.2.2 THE CHALLENGE OF THE LIGHTING ..........................................................................263 12.3. EX POST FACTO REFLECTIONS ...............................................................................................264. 12.4. THE EXHIBITION: EXTERNAL PERSPECTIVES .........................................................................265 12.4.1 OVERALL IMPRESSIONS.............................................................................................267 12.4.2 SITE ONE ..................................................................................................................268 12.4.3 SITE TWO ..................................................................................................................269 12.4.4 SITE THREE ...............................................................................................................270 12.4.5 SITE FOUR.................................................................................................................270 12.4.6 OVERARCHING OBSERVATIONS ................................................................................271. 12.5. DIRECTIONS FROM THE RESEARCH ........................................................................................273 12.5.1 TECHNICAL DEVELOPMENTS ....................................................................................273 12.5.2 ARTISTIC DEVELOPMENTS ........................................................................................274 12.5.3 CONCEPTUAL DEVELOPMENTS .................................................................................280. 12. 6. THE INSCAPE OF SILENCE: PERCEPTIONS OF PLACE ..............................................................281. BIBLIOGRAPY..................................................................................................................................... 283 APPENDICES........................................................................................................................................ 288 APPENDIX A - GLAZE RESEARCH ..............................................................................................................289 A.1 GLAZE TESTS 2001 .........................................................................................................290 A.2 EXTRACT FROM VISUAL DIARY ......................................................................................293 A.3 GLAZE TESTS NOVEMBER 2001 ......................................................................................294 A.4 GLAZE TESTS DECEMBER 2001.......................................................................................301 A.5 GLAZE TESTS FEBRUARY 2002 .......................................................................................303 A.6 GLAZE TESTS MAY 2003.................................................................................................305 A.7 GLAZE TESTS JUNE 2003.................................................................................................307 APPENDIX B - PERLITE TESTS ...................................................................................................................311 B.1 GLAZE TESTS OVER VARYING CLAY BODIES ....................................................................312 APPENDIX C – GLAZE RESEARCH FOR OPEN CUT SERIES .........................................................................321 C.1 BASE GLAZE....................................................................................................................322 C.2 BASE GLAZE 2 YELLOW (YELLOW/RED TO YELLOW ORANGE) ........................................322 C. 3 BASE GLAZE 3 VERMILLION (DARK OLIVE TO ORANGE/EUCALYPT GREEN) ...................325. xiv.

(16) C.4 BASE GLAZE 4 ORANGE (PALE ORANGE TO BEIGE) .........................................................329 APPENDIX D – INDIGENOUS HISTORY .......................................................................................................332 D.1 – INDIGENOUS HISTORY IN RELATION TO MARY KATHLEEN ..........................................333 APPENDIX E - URANIUM DEBATE ..............................................................................................................335 E.1 URANIUM: HISTORICAL PERSPECTIVE ..............................................................................336 E.2 POLITICAL IMPLICATIONS OF URANIUM MINING IN QUEENSLAND ....................................337 APPENDIX F – DIDACTIC PANELS ...............................................................................................................340 F.1 DIDACTIC ONE: SENSING THE SILENCE ............................................................................341 F.2 DIDACTIC TWO: MARY KATHLEEN ..................................................................................342 APPENDIX G –EXHIBITION CATALOGUE ...................................................................................................344 G 1 EXHIBITION CATALOGUE SENSING THE SILENCE: MARY KATHLEEN ..............................345 APPENDIX H-EXHIBITION INVITATION SENSING THE SILENCE: MARY KATHLEEN....................................346 H.1 EXHIBITION INVITATION .................................................................................................347 APPENDIX I - CRITIQUES ...........................................................................................................................348 I .1 CRITIQUE / STEPHEN NAYLOR..........................................................................................349 I .2 CRITIQUE /MANDY WILDEHEART ....................................................................................355 APPENDIX J – CD ROM…….. ...................................................................................................................357 APPENDIX K – REMANTLED EXHIBITION CATALOGUE..............................................................................359 REMANTLED EXHIBITION CATALOGUE ..................................................................................359 APPENDIX L - REMANTLED EXHIBITION INVITATION ................................................................................363 REMANTLED INVITATION .......................................................................................................364. xv.

(17) LIST OF TABLES NO.. PAGE. 4.5.1. POSSIBLE SITES. 63. 4.5.2. ESSENCES OF SILENCE. 64. 4.8.1. CRITERIA AND ASSESSMENT OF VENUES. 68. 9.7.1. WEIGHTS OF WAX CASTS. 181. 11.4.1. INSTALLATION SUMMARY OF RUINS NO 6. 225. xvi.

(18) TABLE of FIGURES Figure. Page. 4.4.1. Map of north-western Queensland ……………………………………….. 4.4.2. Map illustrating extent of the Mary Kathleen site....................................... 61. 6.3.1. Extract from journal J.Mulcahy 2002 ……………………………………. 8.1.1. Plan of Mary Kathleen township circa1980 ……………………………... 140. 8.3.1. Extract from visual journal J/ Mulcahy 2002…………………………….. 146. 9.2.1. Map showing indigenous land use agreement with Mt Isa ………………. 157. 9.7.1. Sketch of single work and of hollow end sections……………………….. 170. 9.7.2. Sections of work mounted on steel ………………………………………. 171. 9.7.3. Sketch of multi-sectioned ………………………………………………... 172. 9.7.4. Sketch showing construction of mother-mould and registration divits…... 172. 9.7.5. Casting the mould for the inner bronze sleeve…………………………… 173. 9.7.6. Appendages and sheath …………………………………………………... 9.7.7. Clay collar showing intial division ………………………………………. 176. 9.7.8. Further divided into sections ……………………………………………... 9.7.9. Initial cast of one-piece section of mother-mould ……………………….. 177. 9.7.10. Re-casting of mother-mould for appendage in two parts ……………... 177. 9.7.11. Stainless pins inserted into the wax ........................................................... 183. 9.7.12. Location of pins, runners and pouring cup............................................... 184. 9.7.13. Cross-section illustrating what happens as glass begins to melt ………. 193. 9.7.14. Showing excess glass where sprue had been …......................................... 193. 9.7.15. Hand held crucible for melting bronze ...................................................... 196. 10.3.1. Map showing fallout from Maralinga ……………................................... 205. 11.4.1. Ground floor plan Perc Tucker Regional ………………………………. 219. 11.4.2. Cross-section of ceramic showing bolt ….……………………………... 228. 11.4.3. Side elevation …………………………………………………………... 229. 11.4.4. Support section for the Ruins No 6 installation ………………………... 229. xvii. 58 94. 175 177.

(19) TABLE of PLATES PLATES ................................................................................................................................................. PAGE 1.3.1. DRY BUSH, TORRENS CREEK. .......................................................................................................... 7. 2.1.1. GEORGE RAPER VIEW OF THE EAST SIDE OF SYDNEY COVE 1790 ................................................... 17. 2.1.2. E. C.FROME FIRST VIEW OF THE SALT DESERT – CALLED LAKE TORRENS 1843 ............................... 18. 2.1.3. JOHN GLOVER ABORIGINES DANCING AT BRIGHTON 1835 ............................................................ 20. 2.1.4. EUGENE VON GUERARD GLENARA 1867 ...................................................................................... 21. 2.2.1. FREDERICK MCCUBBIN. 2.3.1. MARGARET PRESTON. 2.4.1. ARTHUR BOYD BRIDE REFLECTED IN A WATERHOLE 1957-8 ......................................................... 31. 2.4.2. ARTHUR BOYD NEBUCHADNEZZAR’S HEAD IN A WAVE 1966-9 ...................................................... 32. 2.4.3. FRED WILLIAMS CHOPPED TREES 111 1967 ................................................................................ 34. 2.4.4. FRED WILLIAMS FLOOD-BOUND CATTLE 1975 ............................................................................. 36. 3.1.1. JOAN BRASSIL QUAY VIVE: REFLECTIONS AND ECHOES 2003 ....................................................... 38. 3.2.1. NIC UT KIM PHUC 1972 ............................................................................................................... 39. 3.2.2. DINH Q LE DAMAGED GENE (DETAIL) 1998 ................................................................................ 41. 3.2.3. DINH Q LE LOTUS LAND (DETAIL) 1999 ..................................................................................... 42. 3.2.4. AI WEIWEI. 3.2.5. AI WEIWEI PAINTED VASES 2006 ................................................................................................. 43. 3.2.6. SHEELA GOWDA COLLATERAL 2007............................................................................................ 44. 3.3.1. P.DOMBROVSKIS ROCK ISLAND BEND, FRANKLIN RIVER 1979 ...................................................... 45. 3.3.2. LEE SALOMONES. 3.4.1. JOAN BRASSIL QUAY VIVE: REFLECTIONS AND ECHOES 2003....................................................... 49. 4.1.1. J .MULCAHY GORGE SENTINELS 1999 .......................................................................................... 54. 4.2.1. J.MULCAHY TREAD SOFTLY DOMINIC 1999 .................................................................................. 56. 5.1.1. ALBRECHT DURER MELENCOLIA 1 (DETAIL) 1514 ...................................................................... 74. 5.2.1. GLASSY QUARTZ .......................................................................................................................... 77. 5.4.1. ROGER BUDDLE DEBUT 1993 ...................................................................................................... 82. 6.2.1. GLAZE TEST ................................................................................................................................. 88. LOST 1886. ............................................................................................. 22. FLYING OVER SHOALHAVEN RIVER 1942 ..................................................... 27. DROPPING A HAN DYNASTY URN 1995. ......................................................................... 42. BRANCH RATIONALISATION (DETAIL) 2000. xviii. ....................................................... 47.

(20) 6.2.2. GLAZE TEST ................................................................................................................................ 88. 6.3.1. J. MULCAHY BLACK. 6.3.2. GLAZE TEST C.1A ......................................................................................................................... 90. 6.3.3. GLAZE TEST C.1C ........................................................................................................................ 90. 6.3.4. GLAZE TEST A3 35 ...................................................................................................................... 90. 6.3.5. GLAZE TEST A3 31 ...................................................................................................................... 90. 6.3.6. GLAZE TEST A3 36 ...................................................................................................................... 90. 6.3.7. GLAZE TEST A.4.4........................................................................................................................ 91. 6.3.8. GLAZE TEST C. 5B ........................................................................................................................ 92. 6.3.9. GLAZE TEST A.5.3......................................................................................................................... 92. ARCH (DETAIL) 2001 ..................................................................................... 89. 6.3.10 J. MULCAHY BLUE ARCH (DETAIL) 2002 ...................................................................................... 93 6.3.11 GLAZE TEST A.7.18...................................................................................................................... 97 6.3.12 GLAZE TEST A.7.23 ...................................................................................................................... 97 6.3.13 GLAZE TEST C.11A ....................................................................................................................... 97 6.3.14 GLAZE TEST C.12A ...................................................................................................................... 97 6.4.1. GLAZE TEST B.1.33 .................................................................................................................... 100. 6.4.2. J. MULCAHY INHERITANCE FROM MARY KATHLEEN SERIES 2 2004............................................... 100. 6.5.1. J. MULCAHY VARIETY OF PAPER-CLAYS AND PHOTOGRAPHIC SILK SCREEN TEST PIECES 2006...102. 6.5.2. J. MULCAHY PORCELAIN PAPERCLAY SHEET WITH TERRA SIGILATTA, WASHES AND SCREENPRINTED IMAGES 2006…………………………………………………………... 104. 6.5.3. J. MULCAHY. PORCELAIN PAPERCLAY WITH BALL CLAY SLIPS, UNDERGLAZES AND SILK SCREENED IMAGES. 2006...................................................................................... 104. 6.5.4. J. MULCAHY COMMERCIAL PAPERCLAY WITH SLIPS AND GLAZES 2006 ..................................... 106. 6.5.5. J. MULCAHY FIRED PAPER-CLAY FRAGMENT FUSED BETWEEN TRANSPARENT GLASS SHEETS 2006 …………………………………………………………………………………...107. 6.5.6. J. MULCAHY GLAZE FIRED ON CERAMIC FIBRE BLANKET 2006 .................................................. 108. 6.5.7. J. MULCAHY FRAGMENTS OF FIRED GLAZE FUSED BETWEEN SHEETS OF TRANSPARENT GLASS 2006..................................................................................................................... 108. xix.

(21) 6.5.8. J. MULCAHY FRAGMENTS OF FIRED GLAZE AND FIGURES DRAWN IN UNDERGLAZE COLOUR FUSED BETWEEN TRANSPARENT GLASS SHEETS 2006…………..………………… 109. 7.3.1. J. MULCAHY MULLOCK HEAPS AND TUMBLE WEED 2005 …………… ................................... 113. 7.3.2. J. MULCAHY REMAINS OF PLANT AT THE MARY KATHLEEN MINE 2002................................... 114. 7.3.3. J. MULCAHY REMAINS OF PLANT 2005...................................................................................... 114. 7.3.4. J. MULCAHY OPEN CUT MINE AND TAILINGS DAM 2005 ............................................................ 114. 7.5.1. J. MULCAHY RUINS NO 2 2006 .................................................................................................. 119. 7.5.2. J. MULCAHY GREEN ARCH (DETAIL) 2001 ................................................................................ 120. 7.5.3. WALL SKETCH 2006-2007 ......................................................................................................... 123. 7.5.4. WALL SKETCH (DETAIL) 2006-2007 ........................................................................................... 123. 7.5.5. SHOWING FOUND METAL INCLUSIONS ......................................................................................... 125. 7.5.6. GLAZE TESTS 2006...................................................................................................................... 129. 7.5.7. CRYSTAL SAMPLES...................................................................................................................... 130. 7.5.8. J. MULCAHY OPEN CUT NO 1 2006............................................................................................ 131. 7.5.9 J. MULCAHY OPEN CUT NO 1 (DETAIL) 2006 ............................................................................... 131 7.5.10 J. MULCAHY OPEN CUT NO 2 (DETAIL) 2006 ............................................................................. 132 7.5.11 J. MULCAHY INHERITANCE FROM MARY KATHLEEN 2001............................................................ 133 7.5.12 J. MULCAHY INHERITANCE FROM MARY KATHLEEN SERIES 2 (DETAIL) 2006............................... 134 7.5.13 J. MULCAHY INHERITANCE FROM MARY KATHLEEN SERIES 2 (DETAIL) 2006 .............................. 134 7.5.14 J. MULCAHY. DETAIL OF GLASS IN GREEN ARCH ....................................................................... 136. 8.1.1. J. MULCAHY ENTRY TO THE MARY KATHLEEN TOWN SITE 2000 ……………..………..…. 137. 8.1.2. J. MULCAHY TOWN OFFICE SITE ............................................................................................... 138. 8.2.1. VIEW OF PART OF THE MARY KATHLEEN TOWNSHIP CIRCA 1980 ............................................... 141. 8.2.2. J. MULCAHY VIEW OF OLD MARY KATHLEEN TOWN SITE 2005….. ........................................ 142. 8.3.1. POST OFFICE…………... ............................................................................................................. 144. 8.3.2. DANCE CLASS …………. ............................................................................................................ 144. 8.3.3. J. MULCAHY TOWN SITE PHOTOGRAPH 2005………….............................................................. 144. 8.4.1. J. MULCAHY DECAYING FLOOR TILES, MARY KATHLEEN 2000................................................ 147. 8.4.2. J. MULCAHY SCREEN PRINTED PAPER CLAY 2006 ...................................................................... 148. xx.

(22) 8.4.3. J. MULCAHY TEST TILES 2006 .................................................................................................. 148. 8.4.4. J. MULCAHY TRANSITION NO 1 2006 ......................................................................................... 151. 8.4.5. J. MULCAHY TRANSITION NO 2 2006 ......................................................................................... 151. 8.4.6. J. MULCAHY HEADS (DETAIL) 2006........................................................................................ 152. 9.2.1. J .MULCAHY SURROUNDING NATURAL LANDSCAPE 2005......................................................... 155. 9.2.2. KALKADOON ROCK ART 2006 ..................................................................................................... 158. 9.4.1. J. MULCAHY BLUE ARCH (DETAIL) 2006................................................................................... 161. 9.4.2. J. MULCAHY BRIDGE (DETAIL) 2006 ........................................................................................ 162. 9.4.3. ARCH WITHOUT MID-SECTION ..................................................................................................... 163. 9.4.4. ARCH WITH CERAMIC MID-SECTION IN POSITION ......................................................................... 163. 9.4.5. CAST GLASS AFTER REMOVAL FROM MOULD ............................................................................... 163. 9.4.6. J. MULCAHY MALE ALTAR 2006.................................................................................................. 164. 9.4.7. J. MULCAHY MESSAGE STICK NO 4 (DETAIL) 2006...................................................................... 166. 9.4.8. J. MULCAHY. 9.6.1. BRONZE MELT TEST..................................................................................................................... 168. 9.6.2. BRONZE (SOAK) MELT TEST......................................................................................................... 169. 9.7.1. MOULD CASTING IN PROGRESS SHOWING POURING SPRUE IN CENTRE .......................................... 174. 9.7.2. TOP SECTION DIVIDED INTO TWO PARTS TO ACCOMMODATE THE SPRUE ...................................... 174. 9.7.3. LATEX MOULD FOR APPENDAGE SHEATH ..................................................................................... 175. 9.7.4. SHOWING PLACEMENT OF LATEX SHEATH MOULD IN MOTHER MOULD ........................................ 175. 9.7.5. LATEX AND MOTHER MOULDS FOR ONE OF THE MESSAGE STICK WORKS ..................................... 178. 9.7.6. PLASTER MOULDS SOAKING IN WATER BATH ............................................................................... 179. 9.7.7. LATEX INNER MOULDS................................................................................................................. 180. 9.7.8. WAX CAST OF SECTION TO BE CAST IN GLASS .............................................................................. 180. 9.7.9. RUNNER MOULD .......................................................................................................................... 180. 9.7.10. POURING CUP MOULD .................................................................................................................. 180. 9.7.11 WAX. THE KEY (DETAIL) 2006 ......................................................................................... 167. CAST ................................................................................................................................. 182. 9.7.12 RE-BUILT SECTIONS .................................................................................................................... 182 9.7.13 ASSEMBLED HOLLOW CAST WAX FORM...................................................................................... 183. xxi.

(23) 9.7.14 INTERNAL PLASTER CORE AND STEEL PINS ................................................................................. 184 9.7.15 BRONZE SECTION WITH RUNNERS, AIR VENTS AND POURERS ATTACHED .................................... 185 9.7.16 SLURRY MIXER ........................................................................................................................... 185 9.7.17 ZIRCON SAND ............................................................................................................................. 185 9.7.18 COATED WORKS.......................................................................................................................... 185 9.7.19. POURING CUP RIM CLEARED OF ANY ACCIDENTAL COATING OF GROG. 9.7.20 WAX. BURN-OUT KILN. ..................................... 186. ............................................................................................................... 186. 9.7.21 SHELLS AFTER WAX HAS BEEN BURNT OUT ................................................................................ 186 9.7.22 KILN CONTAINING CRUCIBLE ...................................................................................................... 187 9.7.23 SKIMMING THE SURFACE OF THE MOLTEN BRONZE ..................................................................... 187 9.7.24 CRUCIBLE TONGS ........................................................................................................................ 188 9.7.25 BRONZES WITH OUTER SHELL REMOVED ..................................................................................... 188 9.7.26 BRONZES WITH CUPS AND RUNNERS REMOVED ........................................................................... 188 9.7.27 FRAGMENTED AND THIN BRONZE SECTION ................................................................................. 189 9.7.28 BRONZE SECTION SHOWING INNER CORE .................................................................................... 189 9.7.29 DETAIL SHOWING SHELL IMBEDDED IN THE CARVED BRONZE SURFACE ...................................... 190 9.7.30 CLAY SPRUE ............................................................................................................................... 191 9.7.31 POURING THE PLASTER/SILICA/FIBREGLASS WASTE MOULD........................................................ 191 9.7.32 COMPLETED MOULD LEFT TO DRY .............................................................................................. 192 9.7.33 INITIAL ASSEMBLAGE OF BRONZE AND GLASS COMPONENTS ...................................................... 194 9.7.34 SHOWING HOLES FOR THREADED ROD AND GLASS GROUND BUT NOT POLISHED ......................... 195 9.7.35. CUTTLE FISH SHELL MOULD ........................................................................................................ 196. 9.7.36 MOULD SECURED FOR POURING BRONZE .................................................................................... 196 9.7.37 CAST SPRIGS WITH SPRUES STILL ATTACHED .............................................................................. 197 9.7.38. SPRIG READY TO BE CLEANED, PATINATED, WAXED AND JOINED TO MAIN WORK. ....................... 197. 9.7.39. SHOWING SPRIGS IN POSITION ..................................................................................................... 198. 9.7.40. ORIGINAL MODEL FOR BRONZE AND FIRST GLASS SECTION MADE ............................................... 198. 9.7.41. GLASS INSERT OVERLAPPING EDGE OF THE BRONZE .................................................................... 199. 10.2.1. TAILINGS DAM, MARY KATHLEEN. ............................................................................................. 201. xxii.

(24) 10.2.2 MULLOCK HEAPS AT MARY KATHLEEN ...................................................................................... 202 10.3.1. ATOMIC EXPLOSION .................................................................................................................... 203. 10.4.1. SASHA .......................................................................................................................................... 208. 10.4 2 VOVA ........................................................................................................................................... 208 10.5.1 MULTI-COLOURED CLAYS ........................................................................................................... 210 10.5.2. INITIAL MANIPULATION. 10.5.3. FINAL DIGITAL IMAGE. .............................................................................................................. 210. ................................................................................................................ 211. 10.5.4 J. MULCAHY YESTERDAY, TODAY AND….TOMORROW? (DETAIL) 2006....................................... 213 11.4.1. J. MULCAHY RUINS NO 6 (DETAIL) 2006 ................................................................................ 229. 11.6.1. J. MULCAHY RUINS NO 1 (DETAIL) 2006.................................................................................... 230. 11.6.2. J. MULCAHY RUINS NO 4 2006.................................................................................................. 231. 11.6.3. J. MULCAHY RUINS NO 1 2006.................................................................................................. 232. 11.6.4. J. MULCAHY RUINS NO 6 2006.................................................................................................. 233. 11.6.5. J. MULCAHY. INHERITANCE FROM MARY KATHLEEN (SERIES 2A). 2006........................................ 234. 11.6.6. J. MULCAHY. INHERITANCE FROM MARY KATHLEEN (SERIES 2B). 2006 ....................................... 235. 11.6.7. J. MULCAHY. GREEN ARCH. 11.6.8. J. MULCAHY. OPEN CUT 2. 11.6.9. J. MULCAHY HEADS 2006........................................................................................................ 238. 2006 ............................................................................................... 236. 2006 ................................................................................................. 237. 11.6.10 J. MULCAHY TRANSITION 1 2006 .............................................................................................. 239 11.6.11 J.MULCAHY TRANSITION 2 2006............................................................................................... 239 11.6.12 J. MULCAHY BLUE ARCH 2006................................................................................................. 240 11.6.13 J. MULCAHY THE KEY 2006 ...................................................................................................... 242 11.6.14 J. MULCAHY INHERITANCE FROM MARY KATHLEEN (SERIES 3 ) 2006 ........................................ 243 11.6.15 J. MULCAHY INHERITANCE FROM MARY KATHLEEN (SERIES 1) 2006 ......................................... 244 11.6.16 J. MULCAHY FEMALE ALTAR 2006 ............................................................................................ 245 11.6.17 J. MULCAHY MALE ALTAR 2006 ................................................................................................ 245 11.6.18 J. MULCAHY MESSAGE STICK BRONZE WITH CAST GLASS INSERT 2006 .................................. 245 11.6.19 J. MULCAHY MESSAGE STICKS BRONZE WITH CAST GLASS. INSERT & PLAIN BRONZES 2006 .... 246. 11.6.20 J. MULCAHY YESTERDAY, TODAY AND TOMORROW? (SMALLER PANEL) 2006............................. 247. xxiii.

(25) 11.6.21 J. MULCAHY YESTERDAY, TODAY AND TOMORROW? (ONE WALL OF INSTALLATION) 2006........ 247 11.9.23 J. MULCAHY EXHIBITION OVERVIEW 1 2006........................................................................... 255 11.9.24 J. MULCAHY ALTARS 2006....................................................................................................... 255 11.9.25 J. MULCAHY TRANSITIONS INSTALLATION 2006 ...................................................................... 256 11.9.26 J. MULCAHY RUINS INSTALLATION (SECTION OF) 2006............................................................ 256 11.9.27 J. MULCAHY OVERVIEW 2 2006............................................................................................... 257 11.9.28 J. MULCAHY OVERVIEW 3 2006............................................................................................... 257 12.5.1. J. MULCAHY REMANTLED 1999~2003 2008............................................................................. 274. 12.5.2. J. MULCAHY REMANTLED 1999~2003 2008............................................................................. 275. 12.5.3. J. MULCAHY OVERALLS 2008................................................................................................... 276. 12.5.4. J. MULCAHY GREEN TEA FROM CHINATOWN 2008................................................................... 276. 12.5.5. J. MULCAHY LAY DOWN ON. 12.5.6. J. MULCAHY WOKE UP LYING ON A BED OF NAILS 2008 ............................................................ 276. 12.5.7. J. MULCAHY SMOKE ON THE HORIZON 2008 ............................................................................. 277. 12.5.8. J. MULCAHY BAT AT DUSK 2008 .............................................................................................. 277. 12.5.9. J. MULCAHY NORTH-WEST 2008 .............................................................................................. 277. A BED OF ROSES. 2008................................................................... 276. 12.5.10 J. MULCAHY THIS BARE LAND 2008 .......................................................................................... 277 12.5.11 J. MULCAHY ALONE ON A HILL 2008........................................................................................ 278 12.5.12 J. MULCAHY WALKIN’, WALKIN’, TALKIN’, TALKIN’ 2008 ......................................................... 278 12.5.13 J. MULCAHY MAN SCREAM 2008 ............................................................................................. 279 12.5.14 J. MULCAHY WAR CRIMES 2008............................................................................................... 279 12.5.15 J. MULCAHY ABU GHRAIB 2008............................................................................................... 279. xxiv.

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