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Article

Susan Best

(b Sydney, Aug 8, 1919; d Sydney, April 19, 2005).

Australian sculptor, video, installation artist, and sound artist. Brassil received her initial art training at Sydney Teachers College, East Sydney Technical College, and Newcastle Technical College (1937–9). She taught art for 20 years at Campbelltown High School before commencing her exhibiting career in the early 1970s.

Brassil’s first recorded work is Trilogy: Twentieth Century Perception (1969–74; Sydney, U. W. Sydney). Trilogy is composed of three components: Sound Beyond Hearing (900×900×150 mm), Light Beyond Seeing (900×600×150 mm) and Memory Beyond Recall (1050×1050×150 mm). Unlike Brassil’s later works, these three components can be wall mounted. They are beautiful, highly finished, shallow black boxes, and two out of the three are electronic. Memory Beyond Recall has glowing lights veiled behind layers of paper that appear and then dim down and disappear. Light Beyond Seeing has a central lit portion that uses mirrors to suggest an infinitely deep space. The main themes of Brassil’s career—perception, sound, memory, and the transcendental realm—are all signalled in this early work....

Article

Charles Green

(b Freetown, Sierra Leone, Dec 14, 1965).

Australian installation artist, born in Sierra Leone. Resident in Australia from 1972, Piccinini graduated in 1988 from the Australian National University, Canberra, with a BA and then from the Victorian College of the Arts, Melbourne, in 1991 with a BA (Painting). She produced images and objects that embodied imaginary evolutionary jumps and mutations (see, for example, The Young Family; see image page for more views). To produce these, she worked in a succession of new, novel materials and media: from synthetic resins, plastics and silicone developed for special effects in movies to the digital manipulation used in commercial photography and animation. In her 1997 series of photographs, Protein Lattice, a naked female plays with a large hairless rat with an enlarged human ear growing from its back. The work combined the highly contrived language of mainstream fashion photography, brightly lit, glossy and free of imperfection, with an animal that appeared to be one of the hybrid clones then emerging from laboratories. Both glossy-haired model and mutant rat appear equally artificial and equally indebted to technology....