I recently spent a wonderful week in Victoria with my very special friend who I met many years ago in high school (she now lives too far away in Darwin). We arrived on flights within an hour of each other (quite a feat from opposite ends of the continent), collected a hire car and drove a circuitous route to our destination, Healesville. After a short visit to a couple of wineries (a little too early in the day for tasting, even for me), we stopped by for a look at TarraWarra Museum of Art. Philanthropists Eva and Marc Besen began collecting works of art in the 1950s and realised their vision of establishing their privately funded museum with the opening of TarraWarra in 2003. The elegant building is the result of a competition between five of Melbourne’s outstanding architects. Allan Powell’s winning design hugs the contours, complementing rather than imposing on the landscape.
The scenery is sublime, adjacent to the TarraWarra Estate vineyards
and further afield to the ranges.
We wandered into the current exhibition, The Tangible Trace, immediately awestruck by the light and magnitude of the gallery. There were numerous glass display cabinets (I now know they are called vitrines) containing stones, tiles, bits of brick and cubes of termite clay.
The materials have been collected by artist Simryn Gill from around her studio in Port Dickson, Malaysia, near one of the world’s busiest trade routes, the Strait of Malacca. The pieces are traces of the movement of capital and power and the title, Domino Theory, refers to the Cold War concept that if one country fell to communism, others in the region would follow like dominoes, a policy used by the U.S. to justify its involvement in the Vietnam War.
An abandoned seaside motel in Port Dickson was Simryn Gills inspiration for Passing Through. The series of monotypes were created by placing coloured inks on the small white tiles of the former dance floor and imprinting onto paper.
The distorted, partially collapsed outline of Australia, Shilpa Guptas Map Tracing #7 – AU, was somewhat disturbing. The copper pipe has been manipulated to change the shape of the border, inviting us to consider the, “porous relationship between inside and out”.
The large concrete slab covering the floor nearby, another of Shilpa Guptas creations, is engraved with the phrase, “The markings we have made on this land have increased the distance so much” in English, Hindi, Arabic and Chinese. The slab was smashed into fragments on site with the intention that the audience will each take away a piece and at the end of the exhibition, only a trace will remain.
The huge paintings of Carlos Capeláns Implosions series filled the walls of the next gallery.
Upon entering the gallery, we were asked not to touch the curtains in the hallway as they were, in fact, an art installation. Sangeeta Sandrasegar has created five panels of Indian khadi cotton over-hung with silk organza, hand-dyed with indigo and Australian native cherry. What falls from view covers the windows in the Vista Walk gallery, changing the Yarra Valley landscape outside as the material wafted gently in the breeze.
The picture framed at the end of the hallway showed nature at her best.
What could be more beautiful than autumn hues in the morning sunlight?