21 November 2018

Light, Surface and Colour: Sauerbier House A.i.R. Practice Post #6

McLaren Vale from Lot 50 Kanyanyapilla

Lot 50 Kanyanyapilla, McLaren Vale. Joint Interventions. 

For nine days I stayed at Lot 50 K, the ecological and cultural regeneration project created by artist and cultural geographer Gavin Malone. It is based in the centre of the SA wine producing area, McLaren Vale, in the Wiilunga Basin. Lot 50 K is in year four of a ten year project and the 40 hectare site has been planted, defined and constructed to create a centre of cultural significance. Once an Aborignal campsite (6500 to 7000 years to c.1930) and now part of the protected heritage site of the area, the place is rich in archaeology, with artefacts found on site housed in the purpose built culture shed. 


Sunrise Lot 50 K

Additional sites and constructs include the Dendro theatre (open air performance space), Swamp deck (in the Maslin swamp) Sandhill shelter (on the sandy hill from where there is a grand view of the Vale) and Lorrie's Hut, the main reception point to the project. The project has senior custodians that include members frrom the Aboriginal Williams Clan and the project encompasses both European and Aboriginal agricultural practice. I learnt the Aboriginal soft burning of the land was common practice, to clear areas and generate seed growth, some seeds only germinating at a certain heat. Modern day bush fires are destructive with intense heat. 



Polly and Mam, the resident horses of Lot 50 K 

Whilst helping Malone water some of the 1500 new plantings (after three years some trees give shade today) he describes the project as"re-balancing agriculture on a micro level". I perceive the project as an art manifestation. Malone's work features in some of the constructions but moreover, the whole place has an element of creative thinking that is ongoing and developing, rich in cultural and ecological contexts and audience centred.


Insect traces across wood meander and create distinctive lines. The climate enables high visibility of this activity that has profound visual implication. 
Lorrie's Hut Lot 50 K







Initial sketches. The word reed was used to denote the swamp that seemed difficult to draw in this way.

Whilst staying in the Shed, the main accommodation place at Lot 50 K, I made numerous visual drawings as I walked the land. There is no electricity so early morning and late evening light were observed without interruption. The weather was very mixed with electric storm and high wind. I searched for an essence of the place and the objective, 'looking at' approach seemed increasingly not to connect with the essence of the place. The Maslin Swamp covers the lower part of the project and the reeds are left uncut. I became aware of the sound of the reeds, a distinctive flow. This became my overarching impression of the place. A series of reed watercolours were made directly in response to and about the sound of the place. 







My fellow A.i.R is Tristan Louth Robins, a sound artist based in Adelaide and who explores the landscape through sonic media. He has indicated his main A.i.R work will consist of multi-channel sound installation and small sculptural objects, both attributing sound events to natural and man-made materials located around the Onkaparinga area. Having observed Louth Robins working processes over the past few weeks I noted a number of visual diary notes referencing possible points of overlap. Stillness, wire (line), capture, acoustic shadow, compression, field, depth, resonance, silence, (space between) sound collage, fragility, and impermanence. Some, if not all terms familiar as visual art terminology. Sibilant is a term new to me in relation to art form. In discussion with Louth Robins the meaning of consistent texture and perhaps crackling sound, repetitive or unbroken seemed to resonate with the perceived sound of the reeds at the Maslin swamp. As a joint intervention (not collaboration) planned for the wash room space, a small brick built shed adjacent to Sauerbier House galleries, Sibilant form might be a possibility and a different departure to our main exhibition spaces in the gallery.  


The Maslin Swamp Lot 50 K with uncut reeds






Supported by an International Opportunities Fund Grant from Wales Arts International


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