FOREWORD

In 2016, I found myself in a strange position as the newly-appointed director of Umbrella Studio Contemporary Arts, in that I had to very quickly cobble together a large-scale funding application for Alison McDonald’s (by then) fully scheduled regional touring exhibition, Wanton, Wild & Unimagined. This was at the time the most ambitious tour Umbrella had ever mounted, booked for 13 venues across Queensland, New South Wales, South Australia and Victoria, and it felt in part like picking up the baton from my predecessor, Vicki Salisbury, and curator Ross Searle, in a relay and sprinting to the next destination. There was a studio visit with Searle, but by this point it was mere formality, a chance to familiarize myself with the many works that were going to be packed and sent around the country. That is, if my applications were successful.

Fortunately the grants were approved, and we were able to spread Alison’s message of sustainability throughout regional Australia. As I write this, the tour continues, and Alison is still working with the many galleries to support the tour with artist talks and workshops. As you read this, Wanton, Wild & Unimagined will be on display at the Centre, Goolwa, only half way home. This exhibition has been a huge part of Alison’s life for several years now, and so I imagine the change of gears in Immersed to some more personal works, is very welcome to her. The personal aspect comes through in a rigorous artistic deep-dive into the science and socio-politics surrounding water, something which the artist keeps being drawn back to. Water is taken for granted, yet it is situated at the very heart of the entire environmental debate.

There are many that consider art made of recycled materials as being as tired as its name suggests, but I think that such cynicism is just as tired. In a world in which natural resources are constantly being pilfered with no concern for future generations, and our collective attitude toward the built-in obsolescence of digital technologies resembles that of an ignorant, petulant teenager, such critical thinking is a welcome change. Alison is a brilliant ambassador for the merits of sustainable practice. Those who know Alison are no doubt familiar with her clarity and passion in her message, and a blunt-tongued word or two for naysayers; in other words, she is an excellent and tireless advocate for us to improve our habits in caring for future generations through sustainable living. There is still a long, long way to go, but as usual, artists like Alison lead the way. Others will doubtless follow.

Jonathan McBurnie Creative Director, Galleries