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Title

Bush Relevance Series 2

1986

Artist

Ingeborg Tyssen

Netherlands, Australia

1945 – 09 Oct 2002

  • Details

    Date
    1986
    Media category
    Photograph
    Materials used
    type C photograph
    Dimensions
    25.3 x 25.5 cm image; 35.5 x 27.8 cm sheet
    Signature & date

    Signed l.r. verso original mount, pencil "I Tyssen". Not dated.

    Credit
    Hallmark Cards Australian Photography Collection Fund 1989
    Location
    Not on display
    Accession number
    136.1989
    Copyright
    © Ingeborg Tyssen/Copyright Agency

    Reproduction requests

    Artist information
    Ingeborg Tyssen

    Works in the collection

    31

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  • About

    Ingeborg Tyssen arrived in Australia, from her native Holland, in 1957 as a 12 year old and the photographs she made throughout her career convey the sense of loss and dislocation she experienced as a young immigrant. A non-English speaking child, she found that she had to leave behind not only her language, but, as she put it in 1986 ‘the onomatopoeic nursery rhymes which initiated me, as a child, into the dark secrets of the European woods.’ Tyssen’s interest in photography emerged during travel undertaken in the 1970s, and on her return to Sydney she took a class with John F Williams. Influenced by his teaching, Tyssen began exhibiting her own photographs in 1975.

    Tyssen’s work is distinguished by its particular intensity. Her earliest works were observational photographs of urban space that explored themes of isolation and dislocation. In particular she was preoccupied with sites of suburban pleasures like fun parks, pools and gardens and produced wry examinations of mundane scenes that implicate the comical and the poetic with the everyday. As critic Blair French noted in 2003, ‘the fascinating “strangeness” of vision in Tyssen's work suggests an authorial consciousness formed, in part, elsewhere and constantly seeking to rearticulate itself within a different world.’ Her oeuvre reflects on the difficulty of communication, while probing the expressive potential of photography as a site for critical engagement.

    These tightly framed photographs of dense foliage possess a chromatic vibrancy that is not present in her delicate and spare black and white work. Here Tyssen photographs the landscape while denying the horizon line. All we see is a tangle of leaves and undergrowth and are given very few pictorial cues with which to orient ourselves in the landscape. The shallow space flattens perspective and induces a sense of claustrophobia that enhances the intensity of the composition.

  • Exhibition history

    Shown in 3 exhibitions

  • Bibliography

    Referenced in 1 publication

Other works by Ingeborg Tyssen

See all 31 works