This file is part of the following reference:

Mulcahy, Jennifer (2008) Sensing the silence: Mary Kathleen. PhD thesis,

James Cook University.

Access to this file is available from:

http://eprints.jcu.edu.au/8003

SENSING the SILENCE: MARY KATHLEEN

A thesis

submitted with creative work in fulfilment of the requirements for the

degree of

DOCTOR OF PHILOSOPHY

at

James Cook University

by

Jennifer Kaye Mulcahy

Graduate Diploma Visual Art (Monash University) Diploma of Visual Art

(Warrnambool Institute of Advanced Education & Barrier Reef Institute of

TAFE ) Certificate of Tertiary Teaching (James Cook University )

2008

School of Creative Arts

ii

Statement of Access

I, the undersigned, author of this work, understand that James Cook

University will make this thesis available for use within the University

Library and, via the Australian Digital Theses network, for use elsewhere.

I understand that, as an unpublished work, a thesis has significant

protection under the copyright act and;

I do not wish to place any further restriction on access to this work.

-------------------------------------------- -----------------------------------

Signature Date

iii

Electronic Copy

I, the undersigned, the author of this work, declare that the electronic copy

of this thesis provided to the James Cook University Library is an accurate

copy of the print thesis submitted, within the limits of technology available.

____________________________ ____________

Signature Date

iv

Statement of Sources

Declaration

I declare that this thesis is my own work and has not been submitted in any

form for another degree or diploma at any university or other institution of

tertiary education.

Information derived from the published or unpublished work of others has

been acknowledged in the text and a list of references is given.

__________________________ __________________ Signature Date

v

STATEMENT OF CONTRIBUTION OF OTHERS

Support for the completion of the thesis and practice was obtained via the following sources.

Fees: Study was supported through an RTS place awarded by James Cook University Supervision: Supervision was overseen by

• Professor Diana Davis - Principal Supervisor

• Doctor Stephen Naylor Any other assistance: Financial assistance

• was provided by the Perc Tucker Regional Gallery, Townsville City Council, who provided funding for both the exhibition and the exhibition catalogue in 2006.

vi

Acknowledgements

This research project has been undertaken in the quest for increased knowledge and

personal development but coincided with a period of great change within the creative

arts school of the university. This change has resulted in the demise of the traditional

disciplines of ceramics and sculpture giving the artwork that emerged as a result of the

research a particular poignancy and place in the history of the university. The bronzes

were the last to be cast in the foundry and the ceramics and cast glass works the last

major works to be fired in the JCU kilns.

In 2006, as the major works neared completion, the studio at the then JCU COMVAT

(College of Music, Visual Arts and Theatre) campus at Vincent was literally being

dismantled and packed up around me. Looking back on that period it is hard to imagine

a worse scenario or less facilitatory environment for the production of major works.

That the work was able to be completed in time for the exhibition is thanks to the great

support I received from my family, supervisors, colleagues, and friends.

Practical advice and assistance in the preparation and casting of the bronze works was

provided by my then supervisor, and head of the sculpture department Jane Hawkins,

whilst advice on the cutting and polishing of cast glass was provided by friend and

colleague Jude Bohm-Parr of Studio 8 in Cairns. I am greatly indebted to both, and also

to friends and colleagues Tony Cuthbertson and Richard Gillespie who assisted with

solutions for installing one of the major works, and to Richard for his assistance with

excel and the formatting of tables.

vii

The inclusion of Peter Dombrovski’s image of Rock Island Bend on the Franklin River

was made possible by the generosity of Liz Dombrovski, who, in addition to giving me

permission to use the image went out of her way to provide a high resolution copy. The

use of Peter Fusco’s images of the child victims of Chernobyl was made possible by the

responsiveness of the London base of the Magnum Photographic Agency.

Thanks to the support of Dr David Salisbury another dimension was added to the

exhibition via the inclusion of sound. Composed by then music student, Nick Webb, the

aural interpretation of the research sites added a further depth to the atmosphere

emanating from the art work during the time it was on exhibition.

I am deeply grateful to my principal supervisor Professor Diana Davis for her ongoing

commitment to seeing my work through to conclusion. Her clarity of thought, advice

and genuine interest in my research has made the journey well worthwhile. My sincere

thanks also, to Dr Stephen Naylor who, since undertaking my supervision, has been

available and ready with advice whenever needed.

To my family… sons Juan and Nick and husband Andrew for their patience,

understanding, and willingness to assist when and where ever needed, my love and

grateful thanks.

viii

Abstract This research aimed to develop a personal visual response to identified qualities of

silence. Its explorations of those qualities of silence intrinsic to specific landscapes

culminated in artwork designed to connect with the viewing audience at a deeper and

more spiritual level than that of an object merely to be viewed. The hypothesis was that

artwork has the potential to be much stronger and more powerful if, as well as

conveying visual imagery it is able to emanate a palpable sense of a unique energy that

is very much an arbiter of an individual’s response to a specific landscape? By

provoking in the viewing audience a greater empathy with place, art works then have

the potential to contribute to raising awareness and influencing public opinion on a

range of environmental, social and political issues.

These visual interpretations of silences endemic to certain locations focus on the

unseen but powerful energy that fuels these silences, and which is very much the arbiter

of an individual’s response to specific landscapes. Previous visits to the defunct

uranium mine Mary Kathleen (located in the north-west Queensland) had prompted an

awareness of the varied and strong energies inherent in the area making it an ideal

location for this research.

In order to demonstrate that different essences of silence could be incorporated into

artwork in such a way that they could then be accurately identified by viewers of the

works, it was necessary to make artwork that responded to a number of related yet very

different sites. Lists of criteria were established for the selection of sites and the

identification of specific areas within the study area which contained strong and varied

essences of silence. On this basis a number of sites were chosen for further

ix

investigation. A data collection plan and technical experimentation plan were instigated

for each of the selected sites.

Whilst the artworks responded to different essences of silence sensed at the individual

sites and focused on conveying these different essences, they also needed to relate

aesthetically, each to the other, to ensure the cohesiveness of the final exhibition. In

order to ensure the interdependence that would draw the different energies together, and

yet allow sections of the exhibition to reflect unique energies, experimentation prior to

the construction of the artworks was essential.

Research into, and experiments with different media and construction processes were

undertaken in order to complete artwork that is an empathetic response to the silence

endemic to the selected sites, as well as consistent with the research concept. The

resultant five years of research and construction yielded works in response to four

different sites and their associated essences of silence which were exhibited at a major

regional gallery.

The responses to the work elicited from the viewing audience (which included the

general public, media and art critics) were exceedingly positive with many written

comments demonstrating the extent to which they, as viewers, had felt and been aware

of in the work, the type of energy the artist had felt coming from the original site. This

demonstrated that it is possible to create artwork that, in addition to visual interpretation

of place, acts also as a purveyor of the essence unique to a specific place and time.

Hence the greater connection and understanding from viewers to a specific place, as

communicated in the artwork, gives the artwork significant immediacy and relevance to

contemporary issues.

x

TABLE OF CONTENTS

CHAPTER 1 INTRODUCTION............................................................................................................. 1 1.1 THE NATURE AND IMPACT OF SILENCE......................................................................................1

1.2 PARAMETERS OF SILENCE..........................................................................................................2

1.3 SILENCE AND THE INDIVIDUAL ..................................................................................................5

1.4 EXPLORATION OF SILENCE.........................................................................................................8

1.5 RATIONALE AND AIMS OF THE STUDY .....................................................................................12

1.6 ORGANISATION OF THE STUDY.................................................................................................14

CHAPTER 2 SUBJECTIVE IMAGING .............................................................................................. 17

2.1 THE INTERPRETATION OF LANDSCAPE.....................................................................................17

2.2 DESIRE FOR CHANGE ...............................................................................................................22

2.3 RECOGNITION AND INFLUENCE OF INDIGENOUS ART...............................................................24

2.4 A NEW APPROACH TO LANDSCAPE..........................................................................................28

CHAPTER 3 POLITICAL AND SOCIAL WINDOWS ON TO SPECIFIC SITES........................ 37

3.1 THE CONTEMPORARY APPROACH TO LANDSCAPE...................................................................37

3.2 POLITICAL AND SOCIAL IMPACT ..............................................................................................38

3.3 THE ROLE OF ADVOCACY IN AUSTRALIAN ART ......................................................................45

3.4 SENSING THE SILENCE .............................................................................................................50

CHAPTER 4 METHODOLOGY.......................................................................................................... 52

4.1 DIRECTIONS FROM PREVIOUS PRACTICE..................................................................................52

4.2 CONCEPTUAL DIRECTIONS.......................................................................................................55

4.3 DIRECTIONS FROM THE LITERATURE VISUAL/RESEARCH ........................................................56

4.4 MARY KATHLEEN MINE SITE ..................................................................................................58

4.5 SELECTING SITES OF SILENCE..................................................................................................62

4.6 DATA COLLECTION PLAN ........................................................................................................65

4.7 TECHNICAL EXPERIMENTATION PLAN .....................................................................................65

4.8 CHOOSING THE EXHIBITION VENUE.........................................................................................67

4.9 PLANS FOR EXHIBITION DOCUMENTATION ..............................................................................70

CHAPTER 5 GLASS AS AN ART MEDIUM ..................................................................................... 71

xi

5.1 GLASS: PARADOX AND METAPHOR..........................................................................................71

5.2 THE FORMATION OF NATURAL GLASS.....................................................................................76

5.3 MANUFACTURED GLASS..........................................................................................................77

5.4 KILN FORMED GLASS ..............................................................................................................79

5.4.1 PÂTE DE VERRE ..............................................................................................................80

5.5 THE DEVELOPMENT OF THE STUDIO GLASS MOVEMENT IN AUSTRALIA....................................83

5.6 INCLUSION OF GLASS AS A METAPHOR .....................................................................................83

CHAPTER 6 TECHNICAL EXPERIMENTATION.......................................................................... 85

6.1 THE NEED FOR EXPERIMENTATION..........................................................................................85

6.2 GLAZE RESEARCH ....................................................................................................................87

6.3 GLAZE TESTS ...........................................................................................................................88

6.3.1 REPLICATING THE CANADA TRIALS ..............................................................................88

6.3.2 TEST REFINEMENT ONE ................................................................................................89

6.3.3 TEST REFINEMENT TWO ...............................................................................................90

6.3.4 TEST REFINEMENT THREE ............................................................................................90

6.3.5 TECHNICAL CHECKS .....................................................................................................91

6.3.6 TEST REFINEMENT FOUR ..............................................................................................91

6.3.7 TEST REFINEMENTS FIVE AND SIX................................................................................92

6.3.8 GLAZING OF FIRST EXHIBITION WORKS; ARCHES 1 AND 2 ............................................92

6.3.9 CONSTRUCTION AND GLAZING OF THE INHERITANCE SERIES.........................................93

6.3.10 ELIMINATING VARIANTS ..............................................................................................96

6.4 OUTCOMES OF GLAZE RESEARCH............................................................................................98

6.4.1 TEST REFINEMENTS SEVEN...........................................................................................99

6.4.2 IMPLEMENTATION OF RESULTS...................................................................................100

6.5 TECHNICAL EXPERIMENTATION: WORKS RELATING TO THE TOWN SITE ................................101

CHAPTER 7 MARY KATHLEEN: SITE ONE, THE MINE SITE................................................ 110

7.1 INTRODUCTION ......................................................................................................................110

7.2 SITE VISITS.............................................................................................................................111

7.3 VISUAL RESEARCH.................................................................................................................112

xii

7.4 CONCEPTUAL FRAMEWORK ...................................................................................................115

7.5 PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................116

7.5.1 CONSTRUCTION OF THE ARTWORK RELATING TO THE PLANT RUINS NO1 (THE MINE SITE)117

7.5.2 ADDITIONAL WORKS...................................................................................................120

7.5.3 TECHNICAL ISSUES ASSOCIATED WITH CONSTRUCTION OF RUINS NO 6 .......................124

7.5.4 OPEN CUT...................................................................................................................128

7.5.5 EMBELLISHING OF SURFACES......................................................................................129

7.5.6 INHERITANCE FROM MARY KATHLEEN.......................................................................132

7.5.7 GREEN ARCH ..............................................................................................................135

CHAPTER 8 MARY KATHLEEN: SITE TWO, THE TOWNSHIP ..............................................137

8.1 SITE VISITS ............................................................................................................................137

8.2 VISUAL RESEARCH.................................................................................................................141

8.3 CONCEPTUAL FRAMEWORK ...................................................................................................143

8.4 PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................147

8.4.2 CONSTRUCTION OF THE ARTWORK RELATING TO THE TOWNSHIP................................149

8.4.3 TRANSITIONS 1, 2 AND 3 .............................................................................................150

8.4.4 HEADS ........................................................................................................................152

CHAPTER 9 MARY KATHLEEN: SITE THREE, EXISTING NATURAL LANDSCAPE........154

9.1 DESCRIPTION OF THE SITE ......................................................................................................154

9.2 SITE VISITS.............................................................................................................................155

9.3 VISUAL RESEARCH.................................................................................................................159

9.4 CONCEPTUAL FRAMEWORK- BRONZES, ALTARS, ARCH, & PÂTE DE VERRE /CERAMIC WORKS.160

9.4.1 BLUE ARCH. ...............................................................................................................161

9.4.2 THE ALTAR SERIES .....................................................................................................163

9.4.3 MESSAGE STICK SERIES..............................................................................................164

9.4.4 WALL WORKS INCLUDING THE DEPARTED, THE KEY AND INHERITANCE FROM MARY ..166

KATHLEEN SERIES 1 ................................................................................................................166

9.5 PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................167

9.6 ALTAR WORKS .......................................................................................................................168

xiii

9.7 MESSAGE STICKS...................................................................................................................169

9.7.1 CASTING THE MOULD FOR THE MID (GLASS) SECTION .................................................176

9.7.2 CASTING THE GLASS ...................................................................................................190

CHAPTER 10 MARY KATHLEEN: SITE FOUR, SUBJECTIVE FUTURES............................. 200

10.1 MOVING SITES .......................................................................................................................200

10.2 SITE VISIT IMPRESSIONS ........................................................................................................200

10.3 URANIUM: THE VISION AND THE FALL OUT..........................................................................203

10.4 TOWARDS A CONCEPTUAL FRAMEWORK: CONTEMPLATING THE CONSEQUENCES.................206

10.5 PROCESSES RELEVANT TO CONSTRUCTION OF ARTWORK RELATING TO THIS SITE ..................209

CHAPTER 11 EXHIBITION SENSING THE SILENCE: MARY KATHLEEN.......................... 214

11.1 PRE 2006 EXHIBITION............................................................................................................214

11.2 THE PERC TUCKER REGIONAL GALLERY...............................................................................215

11.3 TRANSPORT ISSUES ................................................................................................................216

11.4 INSTALLATION AND PRESENTATION OF WORK........................................................................217

11.5.1 ATMOSPHERE THROUGH LIGHTING ........................................................................................229

11.6 THE FOUR SITES ....................................................................................................................230

11.6.1 SITE ONE: MINE AND PROCESSING PLANT.................................................................230

11.6.2 SITE TWO: THE TOWNSHIP OF MARY KATHLEEN......................................................238

11.6.3 SITE THREE: SURROUNDING NATURAL LANDSCAPE..................................................240

11.6.4 SITE FOUR: SUBJECTIVE FUTURES ............................................................................246

11.7 INCLUSION OF SOUND ............................................................................................................248

11.8 INVITATION AND CATALOGUE................................................................................................251

11.9 DOCUMENTATION PROCESSES................................................................................................254

11.10 MEDIA AND PUBLIC RESPONSE...............................................................................................258

CHAPTER 12 DIRECTIONS, REFLECTIONS AND IMPLICATIONS ...................................... 260

12.1 INTERNAL REFLECTIONS: TAKING STOCK..............................................................................260

12.1.1 REALISATION OF THE AIMS.......................................................................................260

12.1.2 THE INSTALLATION...................................................................................................261

12.2.1 SILENCE AMPLIFIED ..................................................................................................262

xiv

12.2.2 THE CHALLENGE OF THE LIGHTING ..........................................................................263

12.3 EX POST FACTO REFLECTIONS ...............................................................................................264

12.4 THE EXHIBITION: EXTERNAL PERSPECTIVES.........................................................................265

12.4.1 OVERALL IMPRESSIONS.............................................................................................267

12.4.2 SITE ONE ..................................................................................................................268

12.4.3 SITE TWO..................................................................................................................269

12.4.4 SITE THREE...............................................................................................................270

12.4.5 SITE FOUR.................................................................................................................270

12.4.6 OVERARCHING OBSERVATIONS ................................................................................271

12.5 DIRECTIONS FROM THE RESEARCH ........................................................................................273

12.5.1 TECHNICAL DEVELOPMENTS ....................................................................................273

12.5.2 ARTISTIC DEVELOPMENTS........................................................................................274

12.5.3 CONCEPTUAL DEVELOPMENTS .................................................................................280

12. 6 THE INSCAPE OF SILENCE: PERCEPTIONS OF PLACE ..............................................................281

BIBLIOGRAPY..................................................................................................................................... 283 APPENDICES........................................................................................................................................ 288 APPENDIX A - GLAZE RESEARCH..............................................................................................................289

A.1 GLAZE TESTS 2001 .........................................................................................................290

A.2 EXTRACT FROM VISUAL DIARY ......................................................................................293

A.3 GLAZE TESTS NOVEMBER 2001 ......................................................................................294

A.4 GLAZE TESTS DECEMBER 2001.......................................................................................301

A.5 GLAZE TESTS FEBRUARY 2002 .......................................................................................303

A.6 GLAZE TESTS MAY 2003.................................................................................................305

A.7 GLAZE TESTS JUNE 2003.................................................................................................307

APPENDIX B - PERLITE TESTS ...................................................................................................................311

B.1 GLAZE TESTS OVER VARYING CLAY BODIES ....................................................................312

APPENDIX C – GLAZE RESEARCH FOR OPEN CUT SERIES .........................................................................321

C.1 BASE GLAZE....................................................................................................................322

C.2 BASE GLAZE 2 YELLOW (YELLOW/RED TO YELLOW ORANGE) ........................................322

C. 3 BASE GLAZE 3 VERMILLION (DARK OLIVE TO ORANGE/EUCALYPT GREEN) ...................325

xv

C.4 BASE GLAZE 4 ORANGE (PALE ORANGE TO BEIGE) .........................................................329

APPENDIX D – INDIGENOUS HISTORY .......................................................................................................332

D.1 – INDIGENOUS HISTORY IN RELATION TO MARY KATHLEEN ..........................................333

APPENDIX E - URANIUM DEBATE ..............................................................................................................335

E.1 URANIUM: HISTORICAL PERSPECTIVE..............................................................................336

E.2 POLITICAL IMPLICATIONS OF URANIUM MINING IN QUEENSLAND....................................337

APPENDIX F – DIDACTIC PANELS...............................................................................................................340

F.1 DIDACTIC ONE: SENSING THE SILENCE............................................................................341

F.2 DIDACTIC TWO: MARY KATHLEEN..................................................................................342

APPENDIX G –EXHIBITION CATALOGUE ...................................................................................................344

G 1 EXHIBITION CATALOGUE SENSING THE SILENCE: MARY KATHLEEN ..............................345

APPENDIX H-EXHIBITION INVITATION SENSING THE SILENCE: MARY KATHLEEN....................................346

H.1 EXHIBITION INVITATION .................................................................................................347

APPENDIX I - CRITIQUES ...........................................................................................................................348

I .1 CRITIQUE / STEPHEN NAYLOR..........................................................................................349

I .2 CRITIQUE /MANDY WILDEHEART ....................................................................................355

APPENDIX J – CD ROM…….. ...................................................................................................................357

APPENDIX K – REMANTLED EXHIBITION CATALOGUE..............................................................................359

REMANTLED EXHIBITION CATALOGUE ..................................................................................359

APPENDIX L - REMANTLED EXHIBITION INVITATION................................................................................363

REMANTLED INVITATION.......................................................................................................364

xvi

LIST OF TABLES

NO. PAGE

4.5.1 POSSIBLE SITES 63

4.5.2 ESSENCES OF SILENCE 64

4.8.1 CRITERIA AND ASSESSMENT OF VENUES 68

9.7.1 WEIGHTS OF WAX CASTS 181

11.4.1 INSTALLATION SUMMARY OF RUINS NO 6 225

xvii

TABLE of FIGURES

Figure Page

4.4.1 Map of north-western Queensland ………………………………………. 58

4.4.2 Map illustrating extent of the Mary Kathleen site....................................... 61

6.3.1 Extract from journal J.Mulcahy 2002 …………………………………… 94

8.1.1 Plan of Mary Kathleen township circa1980 ……………………………... 140

8.3.1 Extract from visual journal J/ Mulcahy 2002…………………………….. 146

9.2.1 Map showing indigenous land use agreement with Mt Isa ……………… 157

9.7.1 Sketch of single work and of hollow end sections………………………. 170

9.7.2 Sections of work mounted on steel ……………………………………… 171

9.7.3 Sketch of multi-sectioned ……………………………………………….. 172

9.7.4 Sketch showing construction of mother-mould and registration divits…... 172

9.7.5 Casting the mould for the inner bronze sleeve…………………………… 173

9.7.6 Appendages and sheath ………………………………………………….. 175

9.7.7 Clay collar showing intial division ………………………………………. 176

9.7.8 Further divided into sections …………………………………………….. 177

9.7.9 Initial cast of one-piece section of mother-mould ……………………….. 177

9.7.10 Re-casting of mother-mould for appendage in two parts …………….. 177

9.7.11 Stainless pins inserted into the wax .......................................................... 183

9.7.12 Location of pins, runners and pouring cup.............................................. 184

9.7.13 Cross-section illustrating what happens as glass begins to melt ……… 193

9.7.14 Showing excess glass where sprue had been …........................................ 193

9.7.15 Hand held crucible for melting bronze ..................................................... 196

10.3.1 Map showing fallout from Maralinga …………….................................. 205

11.4.1 Ground floor plan Perc Tucker Regional ……………………………… 219

11.4.2 Cross-section of ceramic showing bolt ….…………………………….. 228

11.4.3 Side elevation ………………………………………………………….. 229

11.4.4 Support section for the Ruins No 6 installation ……………………….. 229  

xviii

TABLE of PLATES

PLATES ................................................................................................................................................. PAGE

1.3.1 DRY BUSH, TORRENS CREEK .......................................................................................................... 7

2.1.1 GEORGE RAPER VIEW OF THE EAST SIDE OF SYDNEY COVE 1790 ................................................... 17

2.1.2 E. C.FROME FIRST VIEW OF THE SALT DESERT – CALLED LAKE TORRENS 1843 ............................... 18

2.1.3 JOHN GLOVER ABORIGINES DANCING AT BRIGHTON 1835 ............................................................ 20

2.1.4 EUGENE VON GUERARD GLENARA 1867 ...................................................................................... 21

2.2.1 FREDERICK MCCUBBIN LOST 1886 ............................................................................................. 22

2.3.1 MARGARET PRESTON FLYING OVER SHOALHAVEN RIVER 1942 ..................................................... 27

2.4.1 ARTHUR BOYD BRIDE REFLECTED IN A WATERHOLE 1957-8 ......................................................... 31

2.4.2 ARTHUR BOYD NEBUCHADNEZZAR’S HEAD IN A WAVE 1966-9 ...................................................... 32

2.4.3 FRED WILLIAMS CHOPPED TREES 111 1967 ................................................................................ 34

2.4.4 FRED WILLIAMS FLOOD-BOUND CATTLE 1975 ............................................................................. 36

3.1.1 JOAN BRASSIL QUAY VIVE: REFLECTIONS AND ECHOES 2003 ....................................................... 38

3.2.1 NIC UT KIM PHUC 1972 ............................................................................................................... 39

3.2.2 DINH Q LE DAMAGED GENE (DETAIL) 1998 ................................................................................ 41

3.2.3 DINH Q LE LOTUS LAND (DETAIL) 1999 ..................................................................................... 42

3.2.4 AI WEIWEI DROPPING A HAN DYNASTY URN 1995 ......................................................................... 42

3.2.5 AI WEIWEI PAINTED VASES 2006 ................................................................................................. 43

3.2.6 SHEELA GOWDA COLLATERAL 2007............................................................................................ 44

3.3.1 P.DOMBROVSKIS ROCK ISLAND BEND, FRANKLIN RIVER 1979 ...................................................... 45

3.3.2 LEE SALOMONES BRANCH RATIONALISATION (DETAIL) 2000 ....................................................... 47

3.4.1 JOAN BRASSIL QUAY VIVE: REFLECTIONS AND ECHOES 2003....................................................... 49

4.1.1 J .MULCAHY GORGE SENTINELS 1999 .......................................................................................... 54

4.2.1 J.MULCAHY TREAD SOFTLY DOMINIC 1999 .................................................................................. 56

5.1.1 ALBRECHT DURER MELENCOLIA 1 (DETAIL) 1514 ...................................................................... 74

5.2.1 GLASSY QUARTZ .......................................................................................................................... 77

5.4.1 ROGER BUDDLE DEBUT 1993 ...................................................................................................... 82

6.2.1 GLAZE TEST ................................................................................................................................. 88

xix

6.2.2 GLAZE TEST ................................................................................................................................ 88

6.3.1 J. MULCAHY BLACK ARCH (DETAIL) 2001 ..................................................................................... 89

6.3.2 GLAZE TEST C.1A ......................................................................................................................... 90

6.3.3 GLAZE TEST C.1C ........................................................................................................................ 90

6.3.4 GLAZE TEST A3 35 ...................................................................................................................... 90

6.3.5 GLAZE TEST A3 31 ...................................................................................................................... 90

6.3.6 GLAZE TEST A3 36 ...................................................................................................................... 90

6.3.7 GLAZE TEST A.4.4........................................................................................................................ 91

6.3.8 GLAZE TEST C. 5B ........................................................................................................................ 92

6.3.9 GLAZE TEST A.5.3......................................................................................................................... 92

6.3.10 J. MULCAHY BLUE ARCH (DETAIL) 2002 ...................................................................................... 93

6.3.11 GLAZE TEST A.7.18...................................................................................................................... 97

6.3.12 GLAZE TEST A.7.23 ...................................................................................................................... 97

6.3.13 GLAZE TEST C.11A ....................................................................................................................... 97

6.3.14 GLAZE TEST C.12A ...................................................................................................................... 97

6.4.1 GLAZE TEST B.1.33 .................................................................................................................... 100

6.4.2 J. MULCAHY INHERITANCE FROM MARY KATHLEEN SERIES 2 2004............................................... 100

6.5.1 J. MULCAHY VARIETY OF PAPER-CLAYS AND PHOTOGRAPHIC SILK SCREEN TEST PIECES 2006...102

6.5.2 J. MULCAHY PORCELAIN PAPERCLAY SHEET WITH TERRA SIGILATTA, WASHES AND SCREEN-

PRINTED IMAGES 2006…………………………………………………………... 104

6.5.3 J. MULCAHY PORCELAIN PAPERCLAY WITH BALL CLAY SLIPS, UNDERGLAZES AND SILK

SCREENED IMAGES 2006...................................................................................... 104

6.5.4 J. MULCAHY COMMERCIAL PAPERCLAY WITH SLIPS AND GLAZES 2006 ..................................... 106

6.5.5 J. MULCAHY FIRED PAPER-CLAY FRAGMENT FUSED BETWEEN TRANSPARENT GLASS SHEETS 2006

…………………………………………………………………………………...107

6.5.6 J. MULCAHY GLAZE FIRED ON CERAMIC FIBRE BLANKET 2006 .................................................. 108

6.5.7 J. MULCAHY FRAGMENTS OF FIRED GLAZE FUSED BETWEEN SHEETS OF TRANSPARENT GLASS

2006..................................................................................................................... 108

xx

6.5.8 J. MULCAHY FRAGMENTS OF FIRED GLAZE AND FIGURES DRAWN IN UNDERGLAZE COLOUR FUSED

BETWEEN TRANSPARENT GLASS SHEETS 2006…………..………………… 109

7.3.1 J. MULCAHY MULLOCK HEAPS AND TUMBLE WEED 2005 …………… ................................... 113

7.3.2 J. MULCAHY REMAINS OF PLANT AT THE MARY KATHLEEN MINE 2002................................... 114

7.3.3 J. MULCAHY REMAINS OF PLANT 2005...................................................................................... 114

7.3.4 J. MULCAHY OPEN CUT MINE AND TAILINGS DAM 2005 ............................................................ 114

7.5.1 J. MULCAHY RUINS NO 2 2006 .................................................................................................. 119

7.5.2 J. MULCAHY GREEN ARCH (DETAIL) 2001 ................................................................................ 120

7.5.3 WALL SKETCH 2006-2007 ......................................................................................................... 123

7.5.4 WALL SKETCH (DETAIL) 2006-2007 ........................................................................................... 123

7.5.5 SHOWING FOUND METAL INCLUSIONS ......................................................................................... 125

7.5.6 GLAZE TESTS 2006...................................................................................................................... 129

7.5.7 CRYSTAL SAMPLES...................................................................................................................... 130

7.5.8 J. MULCAHY OPEN CUT NO 1 2006............................................................................................ 131

7.5.9 J. MULCAHY OPEN CUT NO 1 (DETAIL) 2006 ............................................................................... 131

7.5.10 J. MULCAHY OPEN CUT NO 2 (DETAIL) 2006 ............................................................................. 132

7.5.11 J. MULCAHY INHERITANCE FROM MARY KATHLEEN 2001............................................................ 133

7.5.12 J. MULCAHY INHERITANCE FROM MARY KATHLEEN SERIES 2 (DETAIL) 2006............................... 134

7.5.13 J. MULCAHY INHERITANCE FROM MARY KATHLEEN SERIES 2 (DETAIL) 2006 .............................. 134

7.5.14 J. MULCAHY DETAIL OF GLASS IN GREEN ARCH ....................................................................... 136

8.1.1 J. MULCAHY ENTRY TO THE MARY KATHLEEN TOWN SITE 2000 ……………..………..…. 137

8.1.2 J. MULCAHY TOWN OFFICE SITE ............................................................................................... 138

8.2.1 VIEW OF PART OF THE MARY KATHLEEN TOWNSHIP CIRCA 1980............................................... 141

8.2.2 J. MULCAHY VIEW OF OLD MARY KATHLEEN TOWN SITE 2005….. ........................................ 142

8.3.1 POST OFFICE…………... ............................................................................................................. 144

8.3.2 DANCE CLASS …………. ............................................................................................................ 144

8.3.3 J. MULCAHY TOWN SITE PHOTOGRAPH 2005………….............................................................. 144

8.4.1 J. MULCAHY DECAYING FLOOR TILES, MARY KATHLEEN 2000................................................ 147

8.4.2 J. MULCAHY SCREEN PRINTED PAPER CLAY 2006 ...................................................................... 148

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8.4.3 J. MULCAHY TEST TILES 2006 .................................................................................................. 148

8.4.4 J. MULCAHY TRANSITION NO 1 2006 ......................................................................................... 151

8.4.5 J. MULCAHY TRANSITION NO 2 2006 ......................................................................................... 151

8.4.6 J. MULCAHY HEADS (DETAIL) 2006........................................................................................ 152

9.2.1 J .MULCAHY SURROUNDING NATURAL LANDSCAPE 2005......................................................... 155

9.2.2 KALKADOON ROCK ART 2006 ..................................................................................................... 158

9.4.1 J. MULCAHY BLUE ARCH (DETAIL) 2006................................................................................... 161

9.4.2 J. MULCAHY BRIDGE (DETAIL) 2006 ........................................................................................ 162

9.4.3 ARCH WITHOUT MID-SECTION ..................................................................................................... 163

9.4.4 ARCH WITH CERAMIC MID-SECTION IN POSITION......................................................................... 163

9.4.5 CAST GLASS AFTER REMOVAL FROM MOULD ............................................................................... 163

9.4.6 J. MULCAHY MALE ALTAR 2006.................................................................................................. 164

9.4.7 J. MULCAHY MESSAGE STICK NO 4 (DETAIL) 2006...................................................................... 166

9.4.8 J. MULCAHY THE KEY (DETAIL) 2006......................................................................................... 167

9.6.1 BRONZE MELT TEST..................................................................................................................... 168

9.6.2 BRONZE (SOAK) MELT TEST......................................................................................................... 169

9.7.1 MOULD CASTING IN PROGRESS SHOWING POURING SPRUE IN CENTRE.......................................... 174

9.7.2 TOP SECTION DIVIDED INTO TWO PARTS TO ACCOMMODATE THE SPRUE...................................... 174

9.7.3 LATEX MOULD FOR APPENDAGE SHEATH..................................................................................... 175

9.7.4 SHOWING PLACEMENT OF LATEX SHEATH MOULD IN MOTHER MOULD ........................................ 175

9.7.5 LATEX AND MOTHER MOULDS FOR ONE OF THE MESSAGE STICK WORKS ..................................... 178

9.7.6 PLASTER MOULDS SOAKING IN WATER BATH ............................................................................... 179

9.7.7 LATEX INNER MOULDS................................................................................................................. 180

9.7.8 WAX CAST OF SECTION TO BE CAST IN GLASS .............................................................................. 180

9.7.9 RUNNER MOULD .......................................................................................................................... 180

9.7.10 POURING CUP MOULD.................................................................................................................. 180

9.7.11 WAX CAST ................................................................................................................................. 182

9.7.12 RE-BUILT SECTIONS .................................................................................................................... 182

9.7.13 ASSEMBLED HOLLOW CAST WAX FORM...................................................................................... 183

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9.7.14 INTERNAL PLASTER CORE AND STEEL PINS ................................................................................. 184

9.7.15 BRONZE SECTION WITH RUNNERS, AIR VENTS AND POURERS ATTACHED .................................... 185

9.7.16 SLURRY MIXER ........................................................................................................................... 185

9.7.17 ZIRCON SAND ............................................................................................................................. 185

9.7.18 COATED WORKS.......................................................................................................................... 185

9.7.19 POURING CUP RIM CLEARED OF ANY ACCIDENTAL COATING OF GROG ..................................... 186

9.7.20 WAX BURN-OUT KILN ............................................................................................................... 186

9.7.21 SHELLS AFTER WAX HAS BEEN BURNT OUT ................................................................................ 186

9.7.22 KILN CONTAINING CRUCIBLE...................................................................................................... 187

9.7.23 SKIMMING THE SURFACE OF THE MOLTEN BRONZE ..................................................................... 187

9.7.24 CRUCIBLE TONGS........................................................................................................................ 188

9.7.25 BRONZES WITH OUTER SHELL REMOVED..................................................................................... 188

9.7.26 BRONZES WITH CUPS AND RUNNERS REMOVED........................................................................... 188

9.7.27 FRAGMENTED AND THIN BRONZE SECTION ................................................................................. 189

9.7.28 BRONZE SECTION SHOWING INNER CORE .................................................................................... 189

9.7.29 DETAIL SHOWING SHELL IMBEDDED IN THE CARVED BRONZE SURFACE...................................... 190

9.7.30 CLAY SPRUE ............................................................................................................................... 191

9.7.31 POURING THE PLASTER/SILICA/FIBREGLASS WASTE MOULD........................................................ 191

9.7.32 COMPLETED MOULD LEFT TO DRY .............................................................................................. 192

9.7.33 INITIAL ASSEMBLAGE OF BRONZE AND GLASS COMPONENTS ...................................................... 194

9.7.34 SHOWING HOLES FOR THREADED ROD AND GLASS GROUND BUT NOT POLISHED ......................... 195

9.7.35 CUTTLE FISH SHELL MOULD ........................................................................................................ 196

9.7.36 MOULD SECURED FOR POURING BRONZE .................................................................................... 196

9.7.37 CAST SPRIGS WITH SPRUES STILL ATTACHED .............................................................................. 197

9.7.38 SPRIG READY TO BE CLEANED, PATINATED, WAXED AND JOINED TO MAIN WORK ....................... 197

9.7.39 SHOWING SPRIGS IN POSITION ..................................................................................................... 198

9.7.40 ORIGINAL MODEL FOR BRONZE AND FIRST GLASS SECTION MADE ............................................... 198

9.7.41 GLASS INSERT OVERLAPPING EDGE OF THE BRONZE.................................................................... 199

10.2.1 TAILINGS DAM, MARY KATHLEEN ............................................................................................. 201

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10.2.2 MULLOCK HEAPS AT MARY KATHLEEN ...................................................................................... 202

10.3.1 ATOMIC EXPLOSION .................................................................................................................... 203

10.4.1 SASHA .......................................................................................................................................... 208

10.4 2 VOVA ........................................................................................................................................... 208

10.5.1 MULTI-COLOURED CLAYS........................................................................................................... 210

10.5.2 INITIAL MANIPULATION .............................................................................................................. 210

10.5.3 FINAL DIGITAL IMAGE ................................................................................................................ 211

10.5.4 J. MULCAHY YESTERDAY, TODAY AND….TOMORROW? (DETAIL) 2006....................................... 213

11.4.1 J. MULCAHY RUINS NO 6 (DETAIL) 2006 ................................................................................ 229

11.6.1 J. MULCAHY RUINS NO 1 (DETAIL) 2006.................................................................................... 230

11.6.2 J. MULCAHY RUINS NO 4 2006.................................................................................................. 231

11.6.3 J. MULCAHY RUINS NO 1 2006.................................................................................................. 232

11.6.4 J. MULCAHY RUINS NO 6 2006.................................................................................................. 233

11.6.5 J. MULCAHY INHERITANCE FROM MARY KATHLEEN (SERIES 2A) 2006........................................ 234

11.6.6 J. MULCAHY INHERITANCE FROM MARY KATHLEEN (SERIES 2B) 2006 ....................................... 235

11.6.7 J. MULCAHY GREEN ARCH 2006 ............................................................................................... 236

11.6.8 J. MULCAHY OPEN CUT 2 2006 ................................................................................................. 237

11.6.9 J. MULCAHY HEADS 2006........................................................................................................ 238

11.6.10 J. MULCAHY TRANSITION 1 2006 .............................................................................................. 239

11.6.11 J.MULCAHY TRANSITION 2 2006............................................................................................... 239

11.6.12 J. MULCAHY BLUE ARCH 2006................................................................................................. 240

11.6.13 J. MULCAHY THE KEY 2006 ...................................................................................................... 242

11.6.14 J. MULCAHY INHERITANCE FROM MARY KATHLEEN (SERIES 3 ) 2006 ........................................ 243

11.6.15 J. MULCAHY INHERITANCE FROM MARY KATHLEEN (SERIES 1) 2006 ......................................... 244

11.6.16 J. MULCAHY FEMALE ALTAR 2006 ............................................................................................ 245

11.6.17 J. MULCAHY MALE ALTAR 2006 ................................................................................................ 245

11.6.18 J. MULCAHY MESSAGE STICK BRONZE WITH CAST GLASS INSERT 2006 .................................. 245

11.6.19 J. MULCAHY MESSAGE STICKS BRONZE WITH CAST GLASS INSERT & PLAIN BRONZES 2006 .... 246

11.6.20 J. MULCAHY YESTERDAY, TODAY AND TOMORROW? (SMALLER PANEL) 2006............................. 247

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11.6.21 J. MULCAHY YESTERDAY, TODAY AND TOMORROW? (ONE WALL OF INSTALLATION) 2006........ 247

11.9.23 J. MULCAHY EXHIBITION OVERVIEW 1 2006........................................................................... 255

11.9.24 J. MULCAHY ALTARS 2006....................................................................................................... 255

11.9.25 J. MULCAHY TRANSITIONS INSTALLATION 2006 ...................................................................... 256

11.9.26 J. MULCAHY RUINS INSTALLATION (SECTION OF) 2006............................................................ 256

11.9.27 J. MULCAHY OVERVIEW 2 2006............................................................................................... 257

11.9.28 J. MULCAHY OVERVIEW 3 2006............................................................................................... 257

12.5.1 J. MULCAHY REMANTLED 1999~2003 2008............................................................................. 274

12.5.2 J. MULCAHY REMANTLED 1999~2003 2008............................................................................. 275

12.5.3 J. MULCAHY OVERALLS 2008................................................................................................... 276

12.5.4 J. MULCAHY GREEN TEA FROM CHINATOWN 2008................................................................... 276

12.5.5 J. MULCAHY LAY DOWN ON A BED OF ROSES 2008................................................................... 276

12.5.6 J. MULCAHY WOKE UP LYING ON A BED OF NAILS 2008 ............................................................ 276

12.5.7 J. MULCAHY SMOKE ON THE HORIZON 2008 ............................................................................. 277

12.5.8 J. MULCAHY BAT AT DUSK 2008 .............................................................................................. 277

12.5.9 J. MULCAHY NORTH-WEST 2008 .............................................................................................. 277

12.5.10 J. MULCAHY THIS BARE LAND 2008 .......................................................................................... 277

12.5.11 J. MULCAHY ALONE ON A HILL 2008........................................................................................ 278

12.5.12 J. MULCAHY WALKIN’, WALKIN’, TALKIN’, TALKIN’ 2008 ......................................................... 278

12.5.13 J. MULCAHY MAN SCREAM 2008 ............................................................................................. 279

12.5.14 J. MULCAHY WAR CRIMES 2008............................................................................................... 279

12.5.15 J. MULCAHY ABU GHRAIB 2008............................................................................................... 279