| Memorial / Double Pump Laplace II |
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Memorial/Double Pump Laplace II
7th September - 1st October 2010, Mon to Fri 9 - 5 p.m.
An installation in the foyer of the Physics Building, University of Sydney,
This is one of three in a series, loosely based on narratives of the dying and death of my father in 2001.
The installations have been located in sites that were important in how Dad defined himself: the first in 2006 in Aberdeen, NSW where he grew up, the second in the Physics Building at Sydney University where he studied as an undergraduate and the third in 2009 in Lincoln College, Oxford University, where he undertook postgraduate study.
From the eleven and a half months Dad was in hospital, one memory is that I think I was told by a nurse on an early morning shift that she had given Dad twenty-three units of blood which he had bled out into his stomach cavity.
Relatively impermeable membranes are often selectively permeable; objects make their own way where they choose and in their own time. The materials used in the work also work as membranes that separate, allowing some things to pass and some to be caught or retained.
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Memorial / Double Pump Laplace II
Installation in the foyer the Physics Building, Sydney University From 7th September to the 1st October 2010
Installation shots of the work will be added on the website after 7th September.
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| Intangible Collection |
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A site specific exhibition at Maitland Regional Art Gallery, NSW Australia responding to the formal and informal records; the archives and some of the oral histories of the former uses of part of the building.
A copy of the oral histories given in this project will be transfered to the local history section of the Maitland city library
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Intangible Collection
Maitland Regional Art Gallery
14th August to 22nd November 2009
This exhibition examines the former uses of the Art Gallery building in Maitland NSW as a TAFE educational facility incorporating a museum open to the general public. It uses a wide range of archival material from sources such as the Powerhouse Museum in Sydney, the Mitchell Library, State Records and local oral histories.
The oral histories were collected during the period prior to the exhibition from people who had some experience with the building in whatever capacity. These experiences as students, teachers, museum visitors, cleaners etc are not recorded in the official history. This exhibition layers those experiences back into the architecture of the site.
The title 'Intangible Collection' refers to valuing both the objects,(the historical fabric of the building and the museum artefacts on display) and the lived experience as expressed in the oral histories. These memories of the building help to make up a more complex history of the usage.
そこはかなくコレクション
正式又は未正式の記録に従ってオーストラリアNSW州Maitlad地方美術館で行う地域独特の展示会：美術館一部の過去の使用の書物記録と口伝。
このプロジェクトの口伝のコピーはMaitland図書館に移動される。
この展示は現在技術学校であるが、 過去には美術館であり、博物館として今公開されている部分を考察する。
使用した書蔵は、シドニーパワーハウス博物館、Mitchell図書館、公式州歴史などと、地域の口伝である。
口伝は、この建築物に些細な件でもかかわった人々から、展示の前に集められた。ただし、学校の生徒、博物館の客、清掃人などの経験は入っていない。
展示は経験の層を建築物に又戻しいれる。
’そこはかなく’は 物（建築物の過去の様と博物館の展示物）と生きた歴史である口伝による経験を評価した。このような建物の思い出は 複雑な使用歴史を強調できる。
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| Memorial / Double Pump Laplace III |
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The third in the series of works dealing with stories and experiences of the last ten and a half months of my father's life. All of this time was spent in hospital with four and a half months being in intensive care.
This sound and photographic installaion was located in the chapel of Lincoln College in Oxford U.K, one of the places which were important in how my father defined himself.
The sound component consisted of the same sound track played in two locations, the antechapel and within the chapel itself but played out of sync. The photographs both as covered book shapes and held within hymnals framed by benches lined either side of the main aisle.
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Memorial/Double Pump Laplace III
In this exhibition the focus was on the disrupted states in which information is transferred in situations such as these. I could not remember all that was told to me by the staff and at some times I overlaid information overheard about other patients onto the information we'd been given. The sound component is multiples of fragments of those overheard conversations, the noises of the paths in the hospital. Ideas around privacy and the ability of a hospital curtain to provide that will be overlaid with the day to day professional and personal workings of the hospital. Sponsored by ResMed
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| Memorial / Time of Death |
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A still from a video, 3 minutes 30 seconds, 2008 - projected onto a black wall
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Memorial / Time of Death
During the time my father was in an intensive care hospital ward prior to his death I became aware that the idea of the time of death is fluid.
This video is projected onto a black wall resulting in the location of the edge being ambiguous. The flowers on the potted plant decay yet are still beautifull and rewarding of attention.
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| Memorial / Double Pump Laplace |
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The first in the series of works dealing with stories and experiences of the last ten and a half months of my father's life. All of this time was spent in hospital with four and a half months being in intensive care.
This object and photographic installaion was located in St Marks Aberdeen NSW Australia, one of the places which were important in how my father defined himself.
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Memorial / Double Pump Laplace
Installation, 2006
Please see text by Elin Howe 2006
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| When the Sun Blinks |
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Antarctic Gallery Canterbury Museum, Christchurch, NZ, 2007 - consisting of two videos projected onto the top of two of the display cases and a sound work shown in the sound booth.
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When the Sun Blinks
Under this title, three art works comprise the intervention by Australian artist Fiona Davies into this Antarctic Gallery. In these works Davies seeks to expand the focus and narrative to include people somewhat on the periphery of the major historic stories. She layers various alternate contexts with the events and experiences as they are interpreted by the museum in the cases dealing with the 1910 - 1913 British Antarctic Expedition and the 1914 - 1917 Imperial Trans Antarctic Expedition. Davies uses archived material of the participant's own words to form these layers.
Installation Photographs by Stephen Ruscoe
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Memorial / Isolation
This is an installation in 2007 at Maitland Hospital. An isolation ward and a home for the nurse's who worked in the isolation ward was built at this hospital in the early 1900's. The two buildings were tucked out of the way in a corner of the grounds of the hospital.
Two old hospital beds were located in the foyer of the administration section of the hospital. One bed was covered with a sheet embroidered with the architectural detials of the buildings while the other held a paper mould of a mortuary slab.
The work also refers to the context of contemporary uses of physical isolation of patients and staff as a means of controlling infection.
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| Memorial / When I was Younger |
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Installed at the former Blacktown Public School / Blacktown Arts Centre, fabric, paint, chalk, photographs, ribbon and video, 2007
Installation photographs by Adam Hollingsworth
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Memorial / When I was Younger
Detail of the work
Memorial/When I was younger - Cuts 1938
Taken from the room notes written by Elin Howe
' Fiona Davies has a well-established practice of working with historic sites in order to reveal their previously untold stories. Adopting a two pronged approach to these sites, she initially researches official histories and then uses the information gathered from these sources to extend her research into the site's missing stories. The result is a multi layered and often contradictory picture which gives a more comples and human version of events than the official record.
Here at the site of Blacktown Public School she uses the room to the left of the entrance to re-present and interpret selected fragments she has gathered from documents held in the State Archives. The rooms on the right put the hisotry into the hands of the day-to-day participants of the school's activities - students, teachers, parents and community members. Some have already recorded their memories on video, whilst others are now invited to record their memories on a blackboard. These will be documented at regular intervals, enhancing the history of the building with previously absent voices.
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| Water / Flower of Another |
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installation - dimensions variable, fabric, wallpaper, found objects and rice paper, 2006.
photographs by Ian Hobbs
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Water / Flower of Another
Please see text by Elin Howe
When I was growing up, a pink camellia grew in full sun by the front gate of our house. I don’t remember it ever looking very happy but it was prized as a plant that was difficult to grow. Its less than impressive appearance was tolerated in order to obtain the once a year flowers which my mother floated in a Japanese bowl in the middle of the dining room table.
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| Memorial / Hanky |
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6000 x 4500 x 1500mm, found objects and fabric, 2005
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Memorial / Hanky
As installed at the Oceania Centre, U.S.P. Suva, Fiji
The handkerchiefs were sourced from family, donations, some came from garage sales and others from opportunity shops. When the handkerchiefs were personally handed over they were generally accompanied by a story about the owner, how they came to acquire the handkerchief, if someone else had given them this handkerchief and details of significant occasions on which the handkerchief had been used. The richness of these stories about the contextualised handkerchiefs brings the absence of narrative around the anonymous purchases and donations into relief.
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| Safe Return Doubtfull |
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Intervention into the Antarctic Gallery, Canterbury Museum, Christchurch, N.Z. 2003 - consisitng of zinc sheeting containing engraved quotes and images on the top of the display cases, a sound work in the sound booth and an instalaltion in the adjacent visitor lounge consisting of a series of display cases, an oil cloth oversized book and a wall based scuplture.
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Safe Return Doubtfull
This intervention into the museum interpretation within the Antarctic Gallery and adjacent visitor lounge consisted of two installations and a sound work. The intervention focused on the heroic period of exploration of the Antarctic and sought to relayer other histories into the dominant history of the expedition leaders.
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