| Dates: | born 1958
| | Biography: | 1958 Born in Frankston, Victoria,
Australia.
Lives and works in Melbourne
SELECTED SOLO EXHIBITIONS
1999 Echo, Gallery 360 Degrees, Tokyo
1998 Suspended Breath, The National
Gallery of Victoria, Melbourne
1997 Swallowing Night, Kitamoto
Cultural Centre, Saitama
1992 Palace 2, Institute of Modern Art,
Brisbane; Centre for Contemporary Art,
Adelaide
1990 Palace, Ian Potter Museum of Art,
Melbourne University, Melbourne
SELECTED GROUP EXHIBITIONS
1998 Infinite Space: Women,
Minimalism and
the Sculptural Object, Ian Potter
Museum of Art, Melbourne University,
Melbourne Strolling, The Museum of
Modern Art at Heide, Melbourne
1997 Fragments - Relation, Lunami
Gallery, Tokyo
Other Stories, Asialink exhibition, toured
South Asia (1997-98)
Australian Artists of the 1980s, Murdoch
Court, National Gallery of Victoria,
Melbourne
International Multiples, Museum of
Contemporary Art, Sydney
Still Life, Still Lives, Art Gallery of South
Australia, Adelaide
1992 Rediscovery: Australian Artists in
Europe 1982-1992,
Jardin Pabellion deles Artes Expo,
Seville; Australian Embassy, Paris
FURTHER READING
Catalano, G. Building a Picture:
Interviews
with Australian Artists, McGraw-Hill,
Melbourne 1997
Colless, E. The Error of my Ways, IMA,
Brisbane 1995
Edquist, H. "The Transformations of
Rosslynd
Piggott: From Pieraesque Painting to
Crystalline Installation,"
Art and Australia 32.3 (Autumn 1995)
Marshall, B. "Rosslynd Piggott: Creating
a First Innocence," Binocular, Moet &.
Chandon
Contemporary Edition 1994
Suspended Breath (exh. cat.), The
National Gallery of Victoria, Melbourne
1998 Swallowing Night (exh. cat.),
Kitamoto Cultural Centre, Saitama 1997
Willams, D. and C. Simpson. Art Now:
Contemporary Art Post-1970, McGraw-
Hill, Sydney 1994 | | | Source: | "Trace, 1st Liverpool Biennial of Contemporary Art", Festival catalogue | | | Date of source: | 1999 |
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| | Description: | Rosslynd Piggott works in a wide range
of media including painting, sculpture
and mutable installation. Her works are
characterised by their formal fragility and
their use of objects closely identified
with the body: particularly clothing. At
Bluecoat Arts Centre she has installed
two works responding to two very
particular spaces. In each case the
defining characteristics of the installation
are the given qualities of the architecture.
Her works for TRACE, entitled Parting
Note, Arranged Meeting: Breath of Two
Men, La Somnambule and Silver Lining,
are highly detailed site-specific works
that use delicate and decorative
materials like engraved glass, silver,
pearls and silk.
One room forms a corner between the
hall and the main gallery. An arched
alcove dominates one wall, while another
contains beautifully framed windows that
look out onto the garden. There is also a
large convex mirror above one of the two
doors that acts as a surveillance device.
Meaningful intervention into sites as
specific as this one is particularly
difficult, but Piggott's La Somnambule
elegantly animates the room.
Two suspended silk dresses conjure the
ghosts of the building's Georgian past.
Their implied passage through the space
is echoed in the polished surface of the
mirror, which repeats the arch and the
lunettes of the windows.
| | Description Source: | "Trace, 1st Liverpool Biennial of Contemporary Art", Festival catalogue | | Description Source Date: | 1999 | | Gender: | female | | Type: | person |
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