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(2004)Conference PaperStrategies used in interdisciplinary needlework-textiles in public installation-performance are outlined. My paper discusses the particulars of my Irish Linen Memorial, begun in 2001, Justine Merritt's Ribbon around the Pentagon, 1982-85, and Suzanne Lacy's The Crystal Quilt, 1987. I discuss the sculptural use of textiles in public space and ritual, such as their historically political use as banners, as well as creations symbolic of the interconnectedness of life. More currently, textiles metaphorically illustrate violence and trauma inflicted upon the body, loss of life and the rupture of the fabric of social order which war involves. Cloth can be used as a reminder of displaced persons, the migrant identity and the plea for global stability. My collaboration with choreographer-dancer, Elizabeth Cameron-Dalman, OAM, is an example of international collaboration between Australia and Canada, on the issue of Northern Ireland's sectarian violence, 1969-2000.
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(2007)Journal ArticleThis brief article explains the non-hierarchical listing of all 'Troubles' deaths in the inclusive Irish Linen Memorial (renamed The Linen Memorial in 2007) - killings for which various persons/groups on either side of the political divide, as well as the security forces, were responsible. The artwork-memorial can be read as an anti-monument. The Linen Memorial (hereafter LM) acts as a 'modest witness' in reordering relationships and engaging a parity of esteem between Nationalist/Republican ('Catholic') and Loyalist/Unionist ('Protestant') communities during the post-1998 period when Northern Ireland is emerging from conflict. The use of the linen handkerchief as symbolic for heartfelt grief was what inspired me to use it, as a building block, to create a non-traditional and mobile memorial to those killed in the sectarian violence, commonly called The Troubles, in Northern Ireland.
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(2009)Journal ArticleHow we perceive and contemplate the land affects how we treat the land, and ultimately how we live within it. Thus, is it possible for the artist to change how we perceive the environment to the extent that people change the way they respond and inhabit it? Encounters with venerated and Sacred Trees on field trips to India lead me to consider that respect for the environment is strengthened by the symbolic nature of images. Beyond the economic or conservationist perspective, there is an aesthetic rationale for preserving trees in India, where the tree is perceived aesthetically in its natural environment as an object adorned, and subsequently adored. The historic and contemporary practice of venerating the tree through decoration has, over time, effected cultural change in India. The tree is perceived differently, it is seen as a form that houses the sacred, and thus is protected. Louise Fowler-Smith is a Senior Lecturer and Director of the Imaging the Land International Research Institute (ILIRI) at the College of Fine Arts, University of NSW in Sydney, Australia. ILIRI aims to promote new ways of perceiving the land in the 21st century, while opening a dialogue across a wide spectrum of contemporary approaches to imaging the land, from indigenous and non-indigenous, local and international perspectives. ILIRI has established a residential Art Centre at the UNSW Fowlers Gap Research station north of Broken Hill. As a member of RESARTIS, (the international association of Artists’ Residencies), ILIRI attracts national and international artists to reside and work at this unique centre on the edge of the Australian Desert.
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(2007)Conference PaperIn the last few years especially, the notion of Graduate Attributes, and the expectation that they will be mapped through university curricula, has become increasingly standardised in the Australian university sector. Universities more and more articulate their role and purpose through a description of the qualities of their graduates (Clanchy & Ballard 199)], while these qualities are at the same time becoming increasingly generic and non-specific. The aim of this paper is to address the impact of that these approaches to curriculum development and management are likely to have in the Fine Arts and Design teritary education sectors, and on the lessons to be learnt from a recently undertaken curriculum mapping process at the College of Fine Arts UNSW.
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(2007)Conference Paper
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