(Australia 1959 – )
197.0 x 296.0 cm
The nature of place, landscape and habitation, and the relationship between technology, time and speed, are central tenets of Rosemary Laing’s photographic practice. Since the 1980s Laing has searched for ways to represent these multifarious terms, often suspending contradictory elements – such as speed and stasis or nature and culture – in the one image in order to conceptualise nuances between physical and theoretical realms. Such awareness stems from her interest in the continuing impact of Australia’s colonial history, including the significance of the landscape tradition of art in this country. Photography is a challenging means of thinking through some of these social, cultural and visual issues because of its own history and relationship to ‘reality’. Yet as a still medium it enables Laing to paradoxically represent the graceful imperceptibility of flight, speed and motion, and to consider the effects of technology with nature.
Laing produces both large-scale, staged panoramic images and photographs in a more documentary style. ‘Greenwork’ is in the latter mode and marks an important stage in the development of her oeuvre. The series comprises two aspects: ‘greenwork’ of hyper-green digitally enhanced landscapes, and ‘greenwork TL’ (meaning time-lapse) of airport tarmacs and the trace of jet stream against vivid skies, images that delineate the ‘in-between’ spaces where flight and travel are performed. In ‘greenwork TL’ Laing negotiates the invisibility of motion. The landscape is ruptured by ‘fluid abstractions of flight’, as the artist calls them, where speed is unseen and an evaporating and evolving ‘residue’.1 Here, in the accumulation of tyre marks on the tarmac, the midair deposits of jet stream and the empty space of the airport, the dynamics of stasis and flux are revealed, figuring the landscape from both a real and metaphorical point of view.
1. Jonson A 1998, 'Rosemary Laing: stall fall', 'Art/Text', no 63, p 70. From Laing R 1995, 'A fluid rupture', unpublished paper
© Art Gallery of New South Wales Photography Collection Handbook, 2007
Judy Annear, Points of view: Australian photography 1985-95, Sydney, 2005, cover (colour illus.). no catalogue numbers
Judy Annear, Look, 'Points of view: changing attitudes and approaches in Australian photography 1985-95', pg.17-19, Newtown, Nov 2005, 19 (colour illus.).
greenwork, Annandale Galleries, Annandale, 21 Mar 1995–08 Apr 1995
New Orientation, the vision of art in a paradoxical world, Exhibition Venue Unknown, 11 Nov 1995–11 Dec 1995
(greenwork), Kingsford Smith Airport, Sydney, 1995–1995
Perception and Perspective: next wave festival technology and arts program, National Gallery of Victoria [St Kilda Road], Melbourne, 10 May 1996–17 Jun 1996
Digital gardens: a world in mutation, The Power Plant Contemporary Art Gallery, Toronto, 28 Sep 1996–22 Dec 1996
KON©EPT: the 1st international exhibition of contemporary photography, Museum of Contemporary Art Zagreb, 1996–1996
Rosemary Laing: aero-zone:
Rosemary Laing: gradience, Australian Centre for Photography, Paddington, 27 May 2000–25 Jun 2000
Points of view: Australian photography 1985-95, Art Gallery of New South Wales, Sydney, 19 Nov 2005–29 Jan 2006