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Aboriginal and Torres Strait Islander art

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Title

Death Zephyr

2017


Artist

Yhonnie Scarce

Australia

1973 -

Language group

Kokatha, Southern desert region , Nukunu, Spencer region


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.


Details


Place where the work was made

Melbourne Victoria Australia


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


Artist information

Yhonnie Scarce

Works in the collection

1


Place

Where the work was made
Melbourne

Shown in 1 exhibition

Exhibition history


Referenced in 3 publications

Bibliography


The national 2017: new Australian art, Sydney, 2017.

Toni Ross, Artforum, 'The National: new Australian art', pg. 385, New York, Summer 2017, 385. exhibition review

Amelia Winata, Broadsheet Journal, 'Undoing the neutral: the sculpture as pointer', pg. 39-44, Adelaide, 2017, 42.