We acknowledge the Gadigal of the Eora Nation, the traditional custodians of the Country on which the Art Gallery of NSW stands.

Title

Death Zephyr

2017

Artist

Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
Alternate image of Death Zephyr by Yhonnie Scarce
  • Details

    Place where the work was made
    Melbourne Victoria Australia
    Cultural origin
    Kokatha, Southern Desert region/Nukunu, Spencer region
    Date
    2017
    Media category
    Installation
    Materials used
    hand blown glass yams, nylon and steel armature
    Dimensions
    dimensions variable
    Signature & date

    Not signed. Not dated.

    Credit
    Purchased with funds provided by the Aboriginal Collection Benefactor's Group 2017
    Location
    Not on display
    Accession number
    14.2017.a-c
    Copyright
    © Yhonnie Scarce

    Reproduction requests

    Artist information
    Yhonnie Scarce

    Works in the collection

    1

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  • About

    ‘In the suspended, wraith-like clouds of Yhonnie Scarce’s installation ‘Death Zephyr’ 2017 we are temporarily blinded to the lingering effects of the British nuclear tests on Aboriginal land across much of inland South Australia in the 1950s. On close inspection, the beauty of the work is subsumed by a deeper sense of national unease, of the excesses of blind ethno-nationalism, the flagrant disregard for human life and indifference to environmental destruction of which nations are capable.’ Daniel Browning

    Yhonnie Scarce works predominantly in glass. Her work considers the scientific research and concepts that have impacted and have ongoing effects on Aboriginal people. In this major installation Scare employs small glass yams, which she feels represent people, to create a vast, wind-swept form that refers to the poisonous clouds that rained across Maralinga, SA as the British and Australian governments undertook nuclear testing there in the 1950s and 1960 forever altering the landscape and dramatically effecting people’s lives.

  • Places

    Where the work was made

    Melbourne

  • Exhibition history

    Shown in 1 exhibition

  • Bibliography

    Referenced in 3 publications