- Media category
- Materials used
- gelatin silver photograph, matt with ink stamp, sandblasted glass
- 97.0 x 97.0 cm image; 109.0 x 110.0 cm sheet; 113.0 x 112.0 cm frame
- Signature & date
Signed and dated u.l.-u.c. backing board, black fibre-tipped pen "JACKY REDGATE... 1985".
- Gift of the artist 2009
- Not on display
- Accession number
- © Jacky Redgate
- Artist information
Works in the collection
In the early 1980s, Redgate was particularly interested in northern European art. The title of the series of six photographs ‘Naar het Schilder-boeck’, meaning ‘from the book of painting’, is sandblasted onto the glass on the works in a stuttering script which looks handwritten and from another era. The title refers to the medieval and Renaissance source books of symbols and subjects for art, systems through which painters could find a suitable iconography.
The source for Redgate’s series is a painting by Pieter Bruegel from 1559 known as ‘Netherlandish proverbs’ or sometimes ‘The blue cloak’. This painting is an extraordinary visual compilation of close to 100 proverbs illustrated through scenes of human and animal folly, the exact number unquantified due to the overlapping meanings of different scenes.
While Bruegel’s painting has provided inspiration for Redgate’s photographs, she has not directly restaged or replicated episodes from it. ‘The world turns on his thumb’ replaces the nondescript arm of Bruegel’s male courtier with a feminine hand in pre-modern dress. It also displaces the orb, sending it spinning into a new background of tangled tree roots. ‘He fills in the ditch after the calf has drowned’ displays with grim solitude a decapitated calf’s head reminiscent of Goya’s dog buried to its neck. ‘He swims against the stream’ takes the hand that Edward Colless (in the 1988 essay ‘Tradition: Jacky Redgate’ featured in his book ‘The error of my ways’) saw ‘wav[ing] benignly, almost incidentally’ in the Bruegel ‘and plunges it through an unfathomable fluid that has overwhelmed the photographic space with its dark volume’. Colless claims that these differences in inflection and expression cause the ‘proverbial utterance to drift away from their didactic motivation’.
Redgate’s images in this series are all close-ups and the human, when present, is reduced. There is no spatial depth; the dark void from which the objects and forms emerge adds to the enigma of these photographs.
Jacky Redgate immigrated to Adelaide from England with her family at the age of twelve. She has a BFA from the South Australian School of Art and MVA from Sydney College of the Arts. She currently lives in Sydney and lectures at the University of Wollongong.
Shown in 7 exhibitions
Tableaux mourant: photography and death, Fine Arts Gallery University of Tasmania, 08 Sep 1989–29 Sep 1989
Stacey/Redgate: survey, National Art Gallery, Wellington, Wellington, 16 Feb 1991–14 Apr 1991
Stacey/Redgate: survey, Artspace, Auckland, 23 Apr 1991–31 May 1991
Stacey/Redgate: survey, Art Gallery of New South Wales, Sydney, 20 Jul 1991–01 Sep 1991
Stacey/Redgate: survey, Australian Centre for Contemporary Art, South Bank, 05 Feb 1992–08 Mar 1992
What is this thing called photography?, Art Gallery of New South Wales, Sydney, 05 Jun 1999–29 Jul 1999
Jacky Redgate: survey 1980-2003, Contemporary Art Centre of South Australia, South Australia, 23 Apr 2004–30 May 2004
Jacky Redgate: survey 1980-2003, Perth Institute of Contemporary Arts, Perth, 10 Feb 2005–20 Mar 2005
Jacky Redgate Life of the System, Museum of Contemporary Art, Australia, 28 Nov 2005–05 Mar 2006
Visions from her bed, Institute of Modern Art, Fortitude Valley, 15 Mar 2008–26 Apr 2008
Jacky Redgate: the logic of vision, Art Gallery of New South Wales, Sydney, 02 Jun 2012–09 Sep 2012
Referenced in 1 publication
Contemporary Art Centre of South Australia, Jacky Redgate: survey 1980-2003, 2005.
Other works by Jacky Redgate
See all 15 works