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OPEN THE INTERPRETATIONS: A REPRODUCED HISTORY ONLINE GALLERY
A Reproduced History 2020
Welcome to Interpretations: A Reproduced History – an exhibition of visual interpretations of the domestic and the political, the personal and the historical, the remembered and the projected, all based on objects contained within, or connected to, the Chifley Home and Education Centre.
This exhibition has been created by the Visual Arts curriculum method class of 2020, from the School of Teacher Education at Charles Sturt University, Bathurst. To understand the rewards and the modern demands of teaching in the secondary Visual Arts classroom, students have stepped into the shoes of a Year 12 student for a few months, to develop a smaller scale (given their significant time constraints) HSC Body of Work.
As Distance Education students they have engaged in independent artmaking practice as well as collaborated via a virtual classroom, Edmodo, to share ideas and approaches, to give each other feedback on works-in-progress, to generate responses and to create artworks. Through teaching and learning simultaneously every student has contributed to and helped develop the work of the entire group. This year an especially enthusiastic and dedicated culture emerged amongst the students and, given the quality and calibre of past shows this in real compliment to this thoughtful and engaged group.
School of Teacher Education
Charles Sturt University Bathurst
The Series “The New Normal” is reminiscent of the 1940’s in style. This series follows a medium sized blue vintage suitcase waiting to travel in this “new normal” we find ourselves in given the current pandemic and the associated restrictions for travel that comes with it.
Each image has been photographed where possible, (untitled 1 or the airport scene, was impractical to photograph, due to restrictions) then edited to capture a vintage 35mm film quality. Each photo shows a scene which would usually be busy with people travelling but now feels abandoned.
Artist: Orion Bailey
Series title: The New Normal
Artworks: Untitled 1, Untitled 2, Untitled 3 and Untitled 4
‘Composition: Linoleum Flooring’ is a work dedicated to the reappropriation of the linoleum floorings in the Chifley Home. The linoleum flooring holds bold colours and patterns, reflected in the work through the flowing shape and merging patterns.
Utilising the process of automatic drawing, ‘Composition: Linoleum Flooring’ abstracts the classical patterns of the flooring in the Chifley Home and makes suggestions to the history of linoleum flooring through the decorative nature of the work. The circles, overlaying shapes, varying lines and bright colours pop on the dark background, derivative of the colours of the original flooring inside the home.
Artist: Claudia Cataldi
Title: Composition: Linoleum Flooring
Date: September 2020
Medium: Paint pens on brown card
Dimensions: 59.4 cm x 84.1 cm
Artist location: Sydney
You’re probably thinking; “here we go, more facemasks.” Yes, you’re not wrong! Given the severity of the current pandemic the world is experiencing, facemasks seem to be the wave of the future. These facemasks however attempt to provide a ray of positivity and creativity, which is very much needed during these uncertain times.
Facemasks represent hygiene and contamination but can also be a fashion accessory or a form of expression. These facemasks represent the unique individual behind the mask through different patterns and designs. They aim to provide a positive outlook towards the use of facemasks as there are still people who refuse to wear them out in public. This pandemic is a time stamp in world history, and the focus on facemasks has never been greater in recent times. I believe these facemasks act as a representation on the impact this pandemic has had on a global scale as we work together to fight against it.
Artist: Aaron Gonzalez
Location: Sydney, NSW
Title: Face Mask Fashion
Medium: Sewn cotton fabric with elastic ear loops
Sacha JEFFREY (Sacha POLA)
A series of three graphic digital prints.
Having to engage with the Chifley Home online, I found a real disconnection with the physical aspects of the house and while I had chosen an object, I departed from utilizing the object in the physical sense. The object I chose was a cooling cabinet from the Chifley’s kitchen – the object itself was charming to look at, however, the parameters of its physical form didn’t inspire me creatively all that much. This being the case, I decided to use the object as a jumping-off point for a comparison of the prototypical domestic woman from the 50s and 60s to today’s equivalent. I found the advertising of the 50s and 60s to be a strong aesthetic and societal starting point and from there I decided to create three posters that represent the complete re-imagining of women’s role in society by popular culture (among other factors).
Artist: Sacha Jeffrey
Title of Series: #AMAZONPINUP
There is something intriguing about the intensity and mystery of untold stories. These paintings refashion various found objects from the Boree Homestead into atmospheric, imaginative yet ambiguous spaces to highlight the extraordinariness of its original histories and reinvent their untold stories. Each respective work in the triptych, follow characters transitional journeys across time, locations, and worlds as they contend with the humane sensations of anguish, longing, joy, and bliss. As per the Metaphysical Art movement of 1910, these works collage abstruse and illogical happenings into singular, cohesive scenes to encourage a dreamlike sense of introspection and personal projection.
Artist: Beth Johnston
Titles: ‘The anguish of departure, The melancholy of exodus and, The enigma of arrival (longing)’
Medium: Oil paint and alcohol ink on canvas paper
Dimensions: 3 x (29.7×42.0cm) unmounted
Location: Molong, NSW
A Stitch in Time reflects the role of women in 1950’s suburban Australia. The work was inspired by a vintage red canister set found in the Chifley Home. The canister set would have predominantly be used by the women of the house, to store household items, and therefore, like women who were encouraged to be wives and mothers, would have been a regular feature in the suburban home. Composed of a bright colour palette, that draws on the original colour of the canisters and reflects the upon the mood of the time, one that relied on the cold war quest for suburban domesticity.
Artist: Mia Mathieson
Title: A Stitch in Time
Medium: Hand Embroidery: Embroidery thread, Aida cloth, plastic hoop
Location: Grafton, NSW
Lizzie looks at the hobbies and creative lifestyle of the home maker within the context of the 1930s-1950’s. This work reflects the Chifley Homes own Elizabeth Chifley and her love for sewing and craft making. This work expresses the intimate nature the home maker had with the hobbies of their choice. Its intention is to bring light to the creative nature of these wonderful women whose arts within the home were often taken for granted.
Ever since I was a teenager, I had a love for sewing, cooking and craft. These often-stereotyped female roles were something I found enjoyable and fun, yet they were never considered ‘art’. My intention with Lizzie was to bring to light all of the wonderful creations, handmade items, and love that was created on the sewing machine and within the Chifley Home by Elizabeth herself.
Artist: Tahlia Rea O’Neill
Dimensions: H: 42cm, L: 52cm
Materials/ Medium: Found Objects (paper, wooden spools, knitting needs, wool, measuring tape, lace doilies, buttons) wire, lino prints, acrylic paint, water-based ink.
‘Past Eternity’ is a series representing the 1940’s style of linoleum flooring within the Chifley Home. The decorative nature of linoleum flooring is reflected throughout the series by incorporating bold colours, patterns and a white background. Through these elements, the series ‘Past Eternity’ provides a modern twist to the classic patterns and shapes used on linoleum flooring.
This series pays tribute to the Chifley Home by drawing inspirations on the shapes and colours presented within the linoleum flooring. Geometric shapes, blocks of colour, patterns and overlaying shapes together create a modern spin to a classic decorative element within many homes of the 1940’s.
Artist: Madeleine Sing
Series Title: Past Eternity
Painting Titles: Untitled 1, Untitled, 2 Untitled 3
Date: September 2020
Medium: Cardstock paper
Dimensions: 42 x 59.4 cm (each artwork)
‘Packed away memories’ explores the culmination of memories held within an inanimate object represented through colour. The inspiration for this artwork stems from Mr. Ben Chifley’s suitcase, which can be found displayed within the historically preserved Chifley Home in Bathurst, NSW.
This artwork delves into the experiences and memories obtained and stored within the suitcase throughout it’s many journeys undertaken, seeking to portray some of the numerous stories and memories it could share with us if it were able to. The suitcase has been constructed by a mixed media and collage assemblage of various sepia washed papers, detailing Mr Chifley’s life; including his time as Prime Minister, his wife Elizabeth, his hometown of Bathurst NSW and vintage style maps to illustrate the many trips he embarked on with his suitcase whilst in office.
Artist: Hayley Smith
Title: ‘Packed away memories’
Medium: Acrylic and mixed media on canvas, 80x100cm
Location: Geelong, Victoria
‘The Glue’ is a three part photography series representing the main elements that hold together a house, whether in modern day or throughout history; bricks, nails and nature. Inspired by the Chifley House in Bathurst, ‘The Glue’ was created as a sensory experience, aiming towards the purpose of assisting those with a vision impairment the special needs community to ‘feel’ a photo as opposed to just reading or hearing about its contents. These artworks were designed to mimic the textures of the objects captured in each, as to further understand the moment in time in which the photo was taken.
Artist: Amber-Rose Walker
Mediums: Mixed- Acrylic on photo
Title: ‘The Glue’
Dimensions: 6” x 8” x3
‘Through Plato’s lens’ consists of five photographs featuring a wooden chair from the 1950s. The Chifley’s had a variety of wooden chairs throughout their home that were used whilst hosting guests and during mealtime and office hours. The images meaning derives from Plato’s Allegory of the Cave, that suggests human perception cannot develop true knowledge, and that true knowledge can only come from philosophical reasoning. The work draws a timeless distinction between two forms of reality: the reality of the visible world and the (true) reality of ideas. Illustrating the complex relationships among light, reflection, shadows and representation, the photographs highlight how reality can be interpreted as a social construct and questions whether human reason is purposeful in identifying the disparities between reality and apparition. The photographs intent is to ignite enlightenment by disrupting normative constructs.
Artist: Isabelle Whittle
Title: Through Plato’s Lens
Location: Sydney, NSW
‘Treble’ is a three-piece mixed media print series inspired from a crochet doily from the Chifley Home. Crocheting was a popular past time for women during the ’40s, and free patterns were printed in popular magazines. These patterns were also altered and shared among the community.
The three artworks represent the repurposing and resourcefulness of women in the 1940’s in Australia. The layering of multiple lino prints, acrylic paint and oil pastels demonstrate the various ways women can renew and repurpose items to give them a new life.
Artist: Alexandra Zaicew
Dimensions: 210mm x 297mm x3