Christopher PEASE, Cow with Body Paint Enlarge 1 /1

Christopher PEASE

Minang/Wardandi/Balardong/Nyoongar peoples

Perth, Western Australia, Australia born 1969

Cow with Body Paint 2007 Place made: Perth, Western Australia, Australia
Materials & Technique: paintings, balga (xanthorrhoea) resin and natural earth pigments on hessian on canvas

Dimensions: 180.0 h x 300.0 w cm
Acknowledgement: Purchased 2009
Accession No: NGA 2009.3

Christopher Pease weaves the stories and histories of Aboriginal people and white settlers into a narrative with an Aboriginal perspective. He brings the Aboriginal story to the forefront and superimposes it on the ‘other’, in effect reversing the stereotypical roles as seen from the official settler perspective.

Cow with body paint2007 is a notable deviation from Pease’s familiar reinterpretation of colonial histories. In this work he provides the viewer with a stark but subtle reference to the destruction and degradation of his country. The bull, painted in traditional Nyoongar body designs, almost like a traditional cattle brand, stands lonely in a stark brown landscape, void of flora or fauna, referencing the degradation of the land, specifically in the area around Narrogin, Western Australia.

The resin from native balga (or grasstree), which the artist collected from his country in the Darling Ranges, is carefully applied first to a layer of shaped hessian, then to canvas. Pease’s minimal use of texture and colour produces a stark and barren landscape, accentuating the dark contrasting form of the bull. The devastating impact of introduced species on native flora and fauna is undeniable and the impact on local Aboriginal people, particularly in the cattle industry, underlies this work.

Tina Baum


Text © National Gallery of Australia, Canberra 2010
From: Franchesca Cubillo and Wally Caruana (eds) Aboriginal and Torres Strait Islander Art: collection highlights National Gallery of Australia, Canberra, 2010

克里斯托弗·皮斯 (Christopher PEASE)
澳大利亚西澳州佩斯
《体绘奶牛》(Cow with Body Paint)
2007年
帆布材料,粗麻布,巴尔噶(balga)(刺叶树)树脂和天然土性颜料
180.0(高) x 300.0(宽)厘米
2009年购买
收录号:NGA 2009.3

通过一种土著视角,克里斯托弗·皮斯将土著人和白人定居者的故事和历史编织成一幅叙事画。他把土著历史置于显著地位,叠加在‘另一个’之上,实际上,颠倒了官方定居者视角眼中的成见角色。

创作于2007年的《体绘奶牛》明显背离了皮斯对殖民历史为人熟知的重新解释。作品里,他为观赏者提供了明显但微妙的线索,指向自己家乡的毁坏和没落。这头绘有传统尼昂加尔(Nyoongar)体绘的公牛浑似传统品种,形单影只地站在荒凉的棕色环境里,没要植物或动物,指向土地退化,特别是西澳纳罗金(Narrogin)的周边地区。

本地巴尔噶(草树)树胶是艺术家从位于达令山脉(Darling Ranges)的家乡收集来的,首先小心翼翼地施于一层合适的粗麻布上,再施于帆布。皮斯最小程度地使用构图和颜色,绘制出荒凉的不毛之地,突出公牛形态的正反差。引进物种给本地动植物带来的毁灭性影响无可否认,对当地土著人的影响,特别是养牛业,是这幅作品的基础。

Tina Baum
蒂娜·鲍姆


Text © National Gallery of Australia, Canberra