TOM RISLEY
8 Still Lifes. 1982 to 2008 an overview.
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Acknowledgments Cover image: Still Life with Fence Ties and Bed Vase, Tom Risley,1994 (Detail) This catalogue commemorates the major body of work created by Tom Risley for his solo exhibition ‘Tom Risley. 8 Still Lifes. 1982 to 2008 an overview.’ KickArts Contemporary Arts is a not for profit company limited by guarantee and is supported financially by Arts Queensland and the Australia Council for the Arts through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. Sponsors and Partners Arts Queensland Australia Council for the Arts Qantaslink Aero Tropics Boom Sherrin Publisher KickArts Contemporary Arts 96 Abbott Street Cairns QLD 4870 Australia Postal address: PO Box 6090 Cairns QLD 4870 Australia www.kickarts.org.au info@kickarts.org.au Telephone: 07 4050 9494 International telephone +61 7 4050 9494
Robert Willmet KickArts Contemporary Arts Staff Rae O’Connell, Director Beverley Mitchell, KickArts Shop Manager Linda Stuart, Administration Manager Samantha Creyton, Curator Andrew Weatherill, Business Development Manager Jan Aird, Marketing Manager Leith Maguire, Administrator Morgan Brady, Administrator
© KickArts Contemporary Arts 2008 Copyright KickArts Contemporary Arts, the artist and authors 2008. This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced without prior written permission from the publisher. No illustration in this publication may be reproduced without the permission of the copyright owners. Neither may information be stored electronically in any form whatsoever without such permission. Requests and enquiries concerning reproduction and rights should be addressed to the publisher. The views expressed are not necessarily those of the publisher.
Published in association with the exhibition, ‘Tom Risley. 8 Still Lifes. 1982 to 2008 an overview.’, held at KickArts Contemporary Arts September to November 2008. ISBN 978-0-9803402-2-8 Dimensions of works of art are given in centimetres (cm), height preceding width preceding depth where applicable. Publication team Artist: Tom Risley Director and Editor: Rae O’Connell Curator: Rae O’Connell Writers and contributors: Tom Risley, Atherton Nye, Rae O’Connell Design and production: Sam Creyton Photography: David Campbell unless indicated otherwise Proof Reading: Beverley Mitchell Printed by: LOTSA Printing, Cairns
KickArts is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
KickArts Contemporary Arts Board Of Directors Mike Fordham, Chair Jenni Le Comte, Secretary Robyn Baker Jeneve Frizzo Robin Maxwell Billy Missi Roland Nancarrow Andrew Prowse Gayleen Toll
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Contents
Foreword - Rae O’Connell
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Introduction - Atherton Nye
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Rationale - Tom Risley
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Works
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Tom Risley Resume
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Foreword Rae O’Connell Tom Risley is a leading Australian artist with a significant career of exhibiting in Australia and overseas. He has created a high standard in Australia for his sculptural still life works for both wall and floor. With his sophisticated eye he identifies unique objects during his travels in the bush and along the coast. He has the creative gift to recognise objects with significant forms, colours and textures and with his inventive skill places these together with other unique objects and paintings that collectively create powerful, stylish, elegant and sometimes amusing sculptures. The works of art that Tom has selected for this exhibition ‘Tom Risley 8 Still Lifes. 1982 – 2008 an overview’, showcase some of his work taken from this 26 year period with some works that have never been shown before. Tom is a prolific artist, constantly creating and exhibiting, with works collected by the National Gallery of Australia; Queensland Art Gallery; Art Gallery of NSW; National Gallery of Victoria; Art Gallery of South Australia; Art Gallery of Western Australia; Metropolitan Museum of Art, New York; Auckland City Art Gallery; Chartwell Collection, New Zealand; Joseph Brown Collection, Melbourne; Laverty Collection, Sydney; Gold Coast City Gallery; the State Library of Brisbane, Perc Tucker Regional Gallery, Townsville; Mount Gambier Regional Gallery, South Australia; Cairns Regional Gallery; James Baker Collection; Parliament House, Canberra Construction Authority; Artbank, Sydney; Brisbane College of Advanced Education and the Centre of Contemporary Art, Hamilton, New Zealand. We are very proud to be presenting these works by Tom Risley, not only a great Australian artist but also as one of our own from Far North Queensland. Rae O’Connell Director
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Introduction Atherton Nye Tom Risley was born in Rockhampton in 1947 and has spent the majority of his life in the countryside around Far North Queensland. He coexisted with the changes in mid-twentieth century technology and observed his society as it went through the hippie era from the secure intellectual vantage point his artist/ adventurer father had created. The morguelike atmosphere within the Queensland State Art Gallery at this time, the enduring conduit of pop art and culture that television became and Australia’s love/hate relationship with suburbia passed Tom by as he watched his father making boats or art by innovating and utilising what local knowledge he could graft from his immediate environment - the coastal strip of Cape York. A 1985 “Australian Perspecta” catalogue notes that: “Tom’s beachcombing has developed into something more than a pastime”. Perhaps this was a view shared by many in art circles of the south at that time but Tom’s motivation was spawned by a more multifaceted perception of his environment than that we might ascribe to a talented wanderer. Each facet is kept discrete, a multiplicity of domains that have a common connection within Tom’s understanding of art, myth and time, all of which are components in his work. His influences took him to places where material for the production of art was both cheap and accessible but his view of the landscape was not that of a recreator, rather it was a journey to a liminal zone, to a place where formerly treasured objects lay valueless awaiting conversion. While these objects retain an ambiguity in their new role as art components, for they may easily be identified from their former role, the process of utilising them in art affords a new identity or order, thereby transcending their former status. The objects Tom either chooses from the natural environment or creates in his studio share the artist’s joy at creating something ‘spontaneously’ despite the hours of preparation and harboured expectations. A ‘tweaking’ or ‘corrupting’ of the object allows its value to be revealed and established as though it was abruptly uncovered. Unlike the creation of
a landscape or portrait, the symmetry is not preordained and there is no attempt at rendering symbolic values, though some shapes are established which are significant symbols in Western culture. Whether this is a subconscious manifestation of the artist’s thought process or not, his only incentive is to achieve symmetry. Tom believes a still life is about the concept; the apparent rather than the intrinsic value is elemental to his judgment. Human activity in the landscape leaves an historical record, a trace of a culture and its civilising order, and Tom is continually drawn to the shapes which have persisted through time. Many objects are used by several people, thereby inscribing the object’s surfaces with the symbol-written history of those who created it, and the process of employing the artefact to transform the environment furnishes it with the power Tom perceives in a great work of art. The pot shape is significant in so far as the pot is one of the artefacts archaeologists locate in the ruins of past civilisations. In many respects their decoration, what was cooked or prepared in them, their size and shape and the traditions of pot making illustrate the rank or status the civilisation achieved. It was to broken pottery the ancient, democratic Greeks turned when ballot papers were required. There is a little of the archaeologist in all of us, Tom suggests, as we rank the homes and institutions we visit by the quality of the artefacts on display. Within the disclosure of their story and the apparent transformation of the landscape Tom sees an irony. Objects that were once used to transform the landscape have been transformed by nature’s processes to more closely resemble the landscape. The process is complemented when the artefact is removed and utilised within an art work, thus aesthetically transforming the artefact and bestowing its former structure with the ingenious status of storied object. A similar creation, I suggest, is to be found in Nolan’s Kelly paintings with a mythologised figure reduced to an object more closely resembling a letter box, whilst retaining much of its former power as heroic myth. The Kelly series shares 5
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continued.... a resonance with Tom’s concept, that of the heroic bushman artisan who with a few tools or a rifle could subsist where explorers had perished. Within the context of post-war Australia’s development of a cultural identity and ideology the myth flourished, for the reality, seemingly, had long passed into the realms of the oral expression, of cultural beliefs and values, the hopes and lessons learned. It left Tom, the artist, with an impression that great things may spring from quite ordinary places and he cites the Wright brothers as an example: “They came from a town smaller than Watsonville”, which is a hamlet on the road to Irvinebank in North Queensland. From the perspective of art, the myth also offered the abandoned rubbish tips of exhausted mining camps, beaches and towns as places from where a work of art might spring. Though Tom feels an overwhelming sense of sadness upon viewing a bush graveyard or the totemic house stumps, all that’s left to chronicle the hopes and visions of a livelihood, it is the tangible essence of myth that binds all these things together.
material gathering, removes him closer to the quintessential image of man as a part of the environment and further from the city as a refuge for the civilised. This is not to say that Tom dislikes cities and what they may represent but rather he preserves a dichotomy between those values rooted in bush lore and survival and the city where culture is flexible, for sale, fashionable. The connection between hunter-gatherer and city life has its parallels he insists: “When we go shopping and discover something we have desired, like a good pair of shoes, we return proud of what we’ve achieved. Is this unlike a person returning with a good catch of fish or a kangaroo?” Shopping in the bush for things and the admiration he so clearly expresses for the makers of these things, mark Tom as a European. He is unlike the Aboriginal who with discerning pragmatism uses the tools and materials left over generations within an overarching mythology of creation. In contrast, the European person compartmentalises, and mythologises their manufacturer. 2008
The reality in these remote locations, for all but the luckiest of women, was a life of endurance, perseverance and resignation and for men it was the detrimental aspects of isolation and mateship, the masculine equivalent. By the 1920s Australia had removed from its rural past to become a nation of urban dwellers so acerbically described by Vance Palmer in 1921: “You can build a modern suburb in a week, one that, like the mule, is without pride of ancestry and hope of posterity”. The cities and urban centres harboured their own artists whose brush with suburbs like St. Kilda and Kings Cross would produce the art of Tucker, Percival, Nolan and Boyd among others. Tom grasped his father’s ethos to demonstrate that there was still room for a bushman artisan and while the suburbs may crumble, the posterity of the bushman artisan remained in Northern Australia. The artist as “hunter-gatherer”, a concept Tom has accepted to depict his mode of 6
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Tom Risley The initial spark that brought this exhibition to fruition happened on a Sunday afternoon during a wonderful lunch at the home of Richard Turner and Michael Beresford at Machans Beach when I was chatting to Rae and she suggested that I should do something at KickArts at some stage. My response was that I could put together new work/s from material accumulated from collecting trips over the past 5 years or so, what eventuated was the production of one new piece ‘Composite Still Life’ 2003 – 2008. My rationale for the exhibition was to give an idea to a Far North Queensland audience of my working concepts and processes over a long period of time with works only shown in Sydney, Brisbane, Auckland and other Australian capital cities but never before shown together as a group. I’m quite excited by the prospect of seeing these works bouncing off each other, so to speak, and in the context of the Cairns venue where I spent my formative years. My work over many years has gone off on tangents, crossovers, backtracks and somewhat odd leaps sideways, so I thought it would be interesting to accumulate a minimum of large works to try and show this progression with the only constant being the subject matter of Still Life and to also highlight a major strength of my work which has been my interest in various almost tradesman-like processes that were acquired at a very early age. My early first works in the 1970s were basically figurative carvings in stone, wood etc but in 1979/1980 I ‘discovered’ David Smith, Gonzales, Giacometti, Calder and Caro etc and took up steel and welding with gusto. After a couple of years I found my own feet and in 1981/82 produced 4 large works, one of which was Still Life with Barrels 1982, Catalogue 1. In 1981/82 I gave up full time work (a good secure job with the C.S.I.R.O. in Atherton) and with long service leave and super contributions and a materials and equipment grant from the Visual Arts Board of the Australia Council I spent 12 months and
almost every dollar I had to produce these 4 large works. I still own them. By this time Ray Hughes in Brisbane became excited by what I was doing and exhibited the 4 works. Then came the found object/material period: Thongs - 1983, Recycled Car Bonnets in 1984/85, Recycled Queenslander house parts 1986/87/88. In 1987 I made a series of very austere/minimal conceptual works I called ‘Pegboard Pictures’ which in many respect helped to purge the somewhat lyrical trap I was falling into with the figurative/found object work also happening during this period. ‘Composition with White Vase’ Catalogue 2, is one of several works made in 1989 (exhibited at Ray Hughes Gallery,1989) which were heavily influenced by the aforementioned ‘Pegboard Pictures’ involving a rigorous editing of components to a bare minimum while still holding to the classic ideals of a balanced composition. These works were also influenced by the building of a 7m aluminium power boat over the same period. ‘Composition with Maroon Vase’ Catalogue 3, is one of six major works completed during a residency at the Auckland City Art Gallery during the late 1990s. The symmetrical vase from the previous series became half a vase, wall hung, allowing compositional juxtapositions with floor standing found objects. In parallel with these sculptures I also made approximately 50 pastel drawings with subject matter such as kitchen utensils, steam irons, brushes and tools. These confirmed in my mind that there was something intriguing about painting that I wanted to confront, which culminated in ‘Still Life with Vases’ 1991/92 Catalogue 4. This was an odd, oneoff work which distilled for me a lot of my previous thoughts and ideas about sculpture and gave a way forward using concepts of collage and painting as a crutch and a conceptual underpinning. ‘Still Life with Fence Wire Ties and Bedbase’ Catalogue 5, was one of approximately fifteen works in this series titled ‘Still Life about Drawing’. All these works except one were 7
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continued.... black and white and underpinned by the modernist concept of ‘drawing in space’ epitomized by Gonzales, Picasso and Calder, with graphic, steel rod-like sculptures. ‘Still Life with Matisse Pot’ Catalogue 6, is from a series that was a breakthrough for me in regards to carving/engraving directly into the canvas and plywood surface and orbital sanding layers of acrylic paint: two processes that have been part of my work up to the present, 2008. The series involved further investigations into combining sculpture and painting (found and manufactured components) into a unified composition using once again the simplest of subject matter, Still Life. ‘Composite Still Life’ Catalogue 7 and 8, evolved over long periods of time, which reflects the collecting period of the various objects. When I go on collecting trips I tend to gather things without any specific purpose in mind but rather just a ‘that looks interesting’, spontaneous sense. These 2 works, and I am sure others will follow, were completely unrelated to my mainstream work at the time which was mostly into depictions of landscape as subject matter. For this reason the two works can be read almost like a diary or field notes while wandering through the various environments that I explore. 2008.
Tom Risley, KickArts 2008. 8
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Works
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Catalogue 1. Still Life With Barrels 1981 - 1982 Stainless steel/Austen steel and pallet Dimensions variable, height 90 cm Exhibited, Ray Hughes Gallery, Downtown, 1992. 10
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Catalogue 2. Composition With White Vase 1988 - 1999 Plywood, fibreglass, epoxy resins, pigment and found material 230 x 360 x 90 cm Exhibited, Ray Hughes Gallery, Brisbane, 1989 11
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Catalogue 3. Still Life With Maroon Vase 1990 Plywood, fibreglass, epoxy resins, pigment and found material 250 x 400 x 35 cm Exhibited, Auckland City Art Gallery, 1990 12
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Catalogue 4. Still Life With Vases 1991 - 1992 Found material, timber, caulking compound 388 x 182 x 37 cm Exhibited, Ray Hughes Gallery, Sydney, 1992 Exhibited, Queensland Art Gallery, Brisbane, 1992 13
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Catalogue 5. Still Life With Fence Ties And Bed Base 1994 Found objects, ink, acrylic on canvas on plywood panel 240 x 300 x 25 cm Exhibited, Ray Hughes Gallery, Sydney, 1994 14
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Catalogue 6. Still Life With Matisse Pot 1995 Found objects, acrylic on canvas on plywood 330 x 180 x 30 cm Exhibited, Ray Hughes Gallery, Sydney, 1995 15
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Catalogue 7. Composite Still Life 1994 - 2001 Found material/objects and caulking compound 240 x 400 x 40 cm Exhibited, Mackay Artspace, 2003 16
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Catalogue 8. Composite Still Life 2003 - 2008 Found material/objects 500 x 245 x 50 cm 17
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Resume Individual Exhibitions
Selected Group Exhibitions
2008 Tom Risley. 8 Still Lifes, 1982 to 2008 an overview.
2007 ‘Our Way’ - Contemporary Art from Lockhart River -
KickArts Contemporary Arts, Cairns 2005 Flags - Ray Hughes Gallery 2005 Tom Risley - Cairns Regional Gallery 2004 Stories About Landscapes - Ray Hughes Gallery 2000 Still Life and Landscapes - Ray Hughes Gallery 1998 Queensland Landscapes - Ray Hughes Gallery 1998 The Oceania Suite and Landscapes - Cairns Regional Gallery 1997 Stories About Things - Ray Hughes Gallery 1996 Painterly Concerns - Ray Hughes Gallery
University Art Museum, U.Q, Brisbane. 2005 ‘Project Show’ - University Art Museum, U.Q, Brisbane 2003 Beneath the Monsoon - Visions North of Capricorn, - Mackay, Cairns & Townsville. Curated by Gavin Wilson 2002 Gallery Artists - Ray Hughes Gallery, Sydney 2001 Tokyo Designers’ Block - Tokyo 2000 Against the Grain - Australian Sculptural Furniture Brisbane City Gallery.
1994 Still Life - About Drawing - Ray Hughes Gallery
1995 Australia Felix - Benalla, Victoria
1994 982 Trasparenze d’Artea Venezia, Zitelle - Cultural
1991 Thinking Aloud - Drawing exhibition, Ray Hughes
Centre,Venice 1993 Paintings and Drawings of Still Life - Ray Hughes Gallery 1992 The Indigenous Object and the Urban 0ffcast Queensland Art Gallery, Brisbane
Gallery, Sydney 1990 Twenty Australian Artists - Gallery San Vidal, Venice; Queensland Art Gallery, Brisbane; Benalla Regional Art Gallery, Victoria; Ray Hughes Gallery, Sydney Into Space - The Language of Sculpture -
1992 Still Life - Another Option - Ray Hughes Gallery
Queensland Art Gallery, touring regional
1991 Chairs - Gold Coast City Art Gallery
Queensland (Curated by D.Burnett)
1991 Chairs - Townsville Regional Art Gallery 1991 Another Aspect of Still Life and Composition - Ray Hughes Gallery, Sydney 1990 Further Concerns With Still Life & Composition Auckland City Art Gallery, New Zealand 1990 Drawings - Ray Hughes Gallery, Sydney
1989 Adelaide Biennale - Art Gallery of South Australia, Adelaide. (Curated by Mary Eagle) Delineations Exploring Drawing - Ivan Dougherty Gallery, Sydney (Curated by Louise Pether) 1988 Artists For Another Biennale - Ray Hughes Gallery, Sydney
1989 Chairs - Ray Hughes Gallery, Sydney
Gallery Maki - Tokyo, Japan with Joe Furlonger &
1989 Still Life and other Compositional Considerations -
R J Morris
Ray Hughes Gallery, Brisbane
Seventeen Australian Artists - Galleria San Vidal,
1988 Sculpture - Works from central western Queensland
Venice (Organised by Ray Hughes on behalf of
and the North - Ray Hughes Gallery, Brisbane
Richard Ellis World Wide to coincide with the
1987 Furniture - Ray Hughes Gallery, Brisbane
Venice Biennale)
1987 Collage, Bas Relief - Ray Hughes Gallery, Sydney
Creating Australia - The Great Australian Art
1986 Recycled Queenslanders - Ray Hughes Gallery, Brisbane 1985 Car Bonnet Cut-outs - Ray Hughes Gallery, Sydney 1984 Installation with 16m3 of Foam - College Gallery, BCAE Kelvin Grove Campus, Brisbane 1983 Collage - Ray Hughes Gallery, Brisbane
Exhibition The New Generation - Australian National Gallery, Canberra 1987 Painters & Sculptors - Diversity In Australian Art - Queensland Art Gallery, Brisbane. Travelling to Museum of Modern Art, Saitama, Japan (Curated by Michael Sourgnes)
1982 Sculpture - Ray Hughes Gallery, Brisbane
Contemporary Art In Australia - A Review; Museum
1981 Fabrications - Martin Gallery, Townsville
of Contemporary Art, Brisbane Seven Queensland Artists - Darling Downs Institute of Advanced Education, Toowoomba A New Romance - University Drill Hall, Australian National University, Canberra
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1985 Trios Australiens - Peter Cole, Andrew Dunstone & Tom Risley - Gallerie Boudoin Lebon, Paris The First Exhibition - Ray Hughes Gallery, Sydney Queensland/Works - 1950-85, University of Queensland Art Museum, Brisbane (Curated by Nancy Underhill) Six New Directions - Queensland Art Gallery, Brisbane Australian Perspecta ‘85 - Art Gallery of New South Wales, Sydney (Curated by Tony Bond)
Wilson, G 2002, Beneath the Monsoon: Visions North of Capricorn, Artspace Mackay, Mackay Reid, M 2002, The shaping of big things to come Sculpture is no longer the neglected art medium, The Weekend Australian, August 3 - 4 Smee, S 2000, Artist abandons rubbish that goes for a thong. Tom Risley New Work, The Sydney Morning Herald, Tempo, March 25 Owens, S 1998, Domestic Bliss - Art Attack, The Sun – Herald, July 19
1984 Appositions - BCAE Kelvin Grove Campus, Brisbane 1982 Sculpture ‘82 - Commonwealth Games Festival Brisbane. 1981 1981,1984,1987,1990 Australian Sculpture Triennials.
Collections National Gallery of Australia / Queensland Art Gallery / Art Gallery of NSW / National Gallery of Victoria / Art Gallery of South Australia / Art Gallery of Western Australia / Metropolitan Museum of Art, New York / Auckland City Art Gallery / Chartwell Collection, New Zealand / Joseph Brown Collection, Melbourne / Laverty Collection, Sydney. / Gold Coast City Gallery / Queensland State Library, Brisbane / Perc Tucker Regional Gallery, Townsville / Mt. Gambier Regional Gallery, South Australia / Cairns Regional Gallery, Queensland / James Baker Collection / Parliament House Canberra Construction Authority / Artbank, Sydney / Brisbane College of Advanced Education / Centre of Contemporary Art, Hamilton, New Zealand.
Awards 1982, 1985, 1991, 1993 VACB Grants 1996 Stanalite Travelling Fellowship
Commissions Totem QLD Government Gift to New Parliament House, Canberra. Malanda Commission, Eacham Shire Council, FNQ.
Selected Bibliography Since 1990 ABC 2007, Painting Australia Series, March/April Tonkin, S 2005, Tom Risley: First Impressions...and Second Thoughts about Tom Risley, Cairns Regional Gallery, Cairns
O’Malley, B 1998, Chairman of the Board, Courier-Mail, March 11 Martin Chew, L 1993, Getting on The Bus, Country Style, October Hall, D 1992, Tom Risley: The Indigenous Object & the Urban Offcast (exhibition catalogue), Queensland Art Gallery, Brisbane Searle, R 1991, Artist in the Tropics: 200 Years of Art in North Queensland, Perc Tucker Regional Gallery, Townsville Sturgeon, G 1991, Contemporary Australian Sculpture, Craftsman House, Sydney Beenstock, S 1990, Artist confronts himself and life, The Tablelander, June 5 Burnett, D 1990, Into Space: The Language of Sculpture (exhibition catalogue), Queensland Art Gallery, Brisbane Edwards, G 1990, A consideration of some new sculpture from Australia, Europe and Japan, Fourth Australian Sculpture Triennial (exhibition catalogue), Helen Chamberlain (ed.), National Gallery of Victoria, Melbourne Nye, A 1990, Tom Risley in Mary Eagle et al. 1990 Adelaide Biennial of Australian Art, Art Gallery Board of South Australia, Adelaide Rainbird, S 1990, The Art and Environment of Tom Risley, Art & Australia, Vol.28 no.4 Thomas, D 1990, Tom Risley in Tom Risley: Further Concern with Still Life and Composition, Auckland City Art Gallery, Auckland, NZ
Hall, M 2004, Footprints from Another World, Sydney Morning Herald, Spectrum, April 24
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