Alex Seton: For Every Drop

Words Dr Anthea Gunn (Senior Curator of Art Australian War Memorial)

THREE YEARS AND 90 TONNES of marble later, Alex Seton is about to unveil his largest work to date. Eighteen marble ‘droplets’, weighing up to three tonnes each, will soon forever transform the Sculpture Garden at the Australian War Memorial in Canberra. Yet Seton is reticent about proclaiming the scale of his achievement. For Every Drop Shed in Anguish represents the suffering and trauma experienced by a community whom Seton has walked alongside for over a decade.

Seton has long mastered using the materiality of marble to convey meaning. Here, he selected Australian Pearl Marble from Wakaman Country near Chillagoe in north Queensland. Pearl marble is famous for its unique white crystalline surface pattern beloved by designers for kitchens and bathrooms. Seton rejected the premium grade blocks however, searching the quarry (in searing February heat) for the blocks considered ‘flawed’ by veins of iron oxide colouring the marble. Seton described the symbolism of the work:

“I chose the dew drop form when contemplating the fragility and tension of the many kinds of suffering experienced by veterans and families. Every droplet has a unique shape, defined by its delicate surface tension, as if about to burst. Their rounded liquid forms suggest blood, sweat or tears — for every drop ever shed in anguish. Most importantly, when touched these forms reveal themselves to have an inner strength and resilience that provides a hope and promise of healing.”

For Every Drop Shed in Anguish 2023. Australian War Memorial, Campbell ACT. Photograph Mark Porkony.

The concept was honed so that every physical aspect of the work contributes to its meaning. The extraordinary beauty of the marble is showcased by the form of the large, polished droplets, compelling the viewer to move among them, touching the stone and gazing at each droplet’s unique colouring. The dramatic veining alludes to the scars, seen and unseen, borne by many military personnel and their families.

For art historian Sue Malvern this invitation to participation is one of the defining features of contemporary artists’ approach to such public art. She identified Maya Lin’s Vietnam Veterans Memorial (1982, Washington DC) as an historic shift in monumental commemorative sculpture. It ‘invites active participation, not passive admiration… It did not suggest that war was the apogee of manly heroism; it offered a space for reflecting on trauma and working towards closure.’ 1 At least one psychology study indicates that Lin’s sculpture offers healing benefit for Vietnam veterans suffering post-traumatic stress disorder (PTSD), demonstrating the importance of works that acknowledge trauma and offer recognition.

Stone selection, Chillagoe Quarry, Queensland. Photography by David Whittaker.

It was veterans and families who approached the Memorial with the need for a sculpture that represented their lived experience. Australia proudly remembers those who have died at war, but too often those who survived their service with wounds or injuries, and especially mental illness, have felt forgotten. Too many families felt alone and unrecognised for their sacrifices to care for a loved one who served. Too many have died by suicide.

A committee was formed including representatives from veterans, families, and relevant organisations and government agencies to work together to commission a sculpture. Defining the objectives of the project, it was immediately apparent that this would not be a traditional figurative bronze sculpture. What was required was a place for reflection and recognition, not an heroic focal point.

Seton’s proposal was unanimously selected by the committee; one member, a veteran with PTSD wrote:

“The concept of unique drops of blood, sweat and tears touches my soul. It reflects the stories and struggles of many of my friends, their families and their loved ones. It is an open and accessible space that will provide a powerful sense of place for many veterans and their families.”

As a sculptor working in marble, Seton has deeply considered public monuments and memorials and how they can be used to valorise or legitimise those in power. Seton’s practice is part of a much broader cultural reckoning around the meaning of public sculpture, particularly in the wake of the Black Lives Matter and decolonisation movements. It was his work that led to his association with the veterans’ community. As part of his 2011 series of works examining the history and meanings of flags he started to consider the true cost of ‘fighting for the flag’. In response, he started carving a folded flag every time the death of an Australian soldier in Afghanistan was announced:

“Like most Australians, I was aware of the casualties of Operation Slipper, but this seemed far removed from my everyday life, all too easily overlooked… I wanted to create a work that was as much a testament to our ability to forget or disconnect as it was to the Australian soldiers killed while serving in Afghanistan. The war was ongoing, so this would be a living memorial to the ongoing tragedy it brought about.”

Now titled As of today… the work now numbers 47 flags and is on permanent display at the Memorial. What started as a meditation as a civilian on service, became a commemorative work through which Seton formed relationships with the families of those killed, including some who died by suicide. Together they will stand with the public on 22 February 2024 at the dedication of For Every Drop Shed in Anguish for long overdue recognition of the true costs of service. ■

For Every Drop Shed in Anguish 2023. Australian War Memorial, Campbell ACT. Photograph Mark Porkony.

For Every Drop Shed in Anguish will be dedicated at the Australian War Memorial, Canberra at 9:30am, 22 February 2024, and the public are welcome. For more information, including livestreaming, see www.awm.gov.au/sufferingsofwar

Alex Seton in Chillagoe Quarry, Queensland. Photography by David Whittaker.