Riparian Life: a visual navigation of the Hunter River Estuary Julianne Tilse Bachelor of Arts - University of Newcastle Master of Arts - University of New South Wales An exegesis submitted in support of creative research for the degree of Doctor of Philosophy (Fine Art) January 2015 ii Declaration This exegesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University Digital Repository **, subject to the provisions of the Copyright Act 1968. ** Unless an Embargo has been approved for a determined period. Julianne Tilse January 2015 iii iv Acknowledgements I would like to acknowledge the Aboriginal people who were the custodians of the Hunter River for thousands of years prior to the colonization by Europeans. My thanks go to Newcastle University for their support throughout this degree. I acknowledge and thank the many individuals who have supported and encouraged me throughout this study. Dr Angela Philps and Patricia Wilson-Adams for their supervision, insightful feedback, time and professional advice. Nola Farman for her proficient proofreading. My special thanks go to my friends and wider family who have given me their quiet encouragement, inspiration, advice and grounding. Thank you to my creative peers and to my rowing friends who share a passion for the river. My deepest gratitude goes to my husband Brent and our three sons Jeremy, Garreth and Jonathan who have shown their enduring support, patience, love and assistance, and who inspire me to look beyond the expected. v vi Contents Abstract Page xi Glossary of Terms xii List of Image Plates xiii – xvi Introduction 1 Chapter 1 Theories of Being 9 1.1 Philosophy & Heidegger 10 1.2 Praxical Knowledge 15 1.3 Interdisciplinary Research 18 1.4 Gilles Deleuze & Felix Guattari 21 1.5 Mixed Multi-method Methodology 25 1.6 Environmental Aesthetics 28 Chapter 2 An Indigenous Life 33 2.1 Archaeology 33 2.2 Ongoing River Research 41 2.3 Natural Resources 42 2.4 The Skottowe Manuscript 44 Chapter 3 An Early Colonial Landscape 53 3.1 An Eye Sketch 54 3.2 The Barrallier Plan 56 3.3 Mount Anne 59 3.4 Lycett’s Legacy 63 3.5 Browne and Skottowe 72 3.6 The Wallis Album 78 3.7 The Macquarie Collectors’ Chest & 1818 83 3.8 Artists at Ash Island 88 vii viii Chapter 4 The Known: Objective Research 99 4.1 Environmental Change 100 4.2 Lime and Industry 104 4.3 Coal and the Port 108 4.4 Cedar and Vegetation 110 4.5 Objective Research: issues of concern 118 4.6 Ecology 120 4.7 Erosion, Geomorphology and Floods 125 4.8 Vegetation Mapping 131 Chapter 5 Praxis & Process 137 5.1 Contemporary Cultural Context 138 5.2 Living Enquiry: case study 1: Bolwarra 142 5.3 Living Enquiry: case study 2: Crinum 146 5.4 Field Studies 155 5.4 Studio Research 165 Chapter 6 Being 177 6.1 Creative Exchange: Becoming 165 6.2 Outcome 1- Mt Anne: Kiah-Yarra 169 6.3 Outcome 2 - Pitnacree Willow 174 6.4 Outcome 3: Riparian Life 177 6.5 Contemporary Art: an expanded field 178 6.6 Riparian Aesthetics 187 6.7 Mangroves 191 Chapter 7 Liminal: a Becoming 197 7.1 An Epiphany 198 7.2 Seduction of Art 200 7.3 A Liminal Dynamic 210 7.4 Virtual Multiplicity: Photo-media 220 7.5 Reflection 224 Conclusion 227 Appendix List 230 ix x Abstract RIPARIAN LIFE: a visual navigation of the dynamic nature of the Hunter River Estuary. The Hunter River Estuary is defined as the intertidal zone of river that stretches from the Newcastle delta to the Oakhampton floodplains at Maitland Vale in New South Wales. This research of the Hunter River Estuary is unique in its integration of both objective and subjective concepts and finds new expression in an original body of paintings, drawings and photographs. The environmental history and science of the river brings to light many examples of pre-colonial riparian life and colonial antecedents who have attempted to capture the natural environment of the river. Contemporary artists continue to contemplate the inimitable natural environment. However, there has been no previous research that visually documents the dynamic nature of the estuary or that investigates this riparian environment in a creative exchange across empirical known and subjective unknown components of research. This landscape has previously not been examined in the context of interdisciplinary contemporary art practice. This research project incorporates empirical evidence and practice-based research, which culminate in a body of work that aims to inspire an aesthetic awareness of the dynamic nature and changing ecology of the Hunter River. New and less recognized aspects of knowledge and fresh perceptions of the river emerge with creative arts praxis and practical encounters of being in and moving through this specific riparian landscape. The liminal nature of this riparian environment is experienced from within and upon the river in a rowing boat, across times and tides. In spite of the specificity of observed riparian sites, the contents often transcend the known and become windows into subliminal unknowns. The works of art echo a deeply felt connection to the river and include a series of paintings on linen, a series of drawings on paper and an album of photo-media. Research outcomes provide a visual navigation of the dynamic nature of the Hunter River Estuary. xi Glossary of Terms In this study I refer to the following interpretation of terms: Anthropocene – a term used for the proposed epoch that began when human activities had a significant global impact on the Earth’s ecosystems; viewed as having begun about 200 years ago with the significant impact of human activity on the environment and eco-sphere. Hunter River Estuary – the section of the main channel of the Hunter River that is influenced by tidal flow and is inter-tidal; from the upper estuary at Maitland Vale to the river mouth at Newcastle, New South Wales, Australia. Inter-discipline – Is a generic term for connection with more than one discipline, also referred to by others as trans-discipline, multi-discipline or cross-discipline. I will use the generic term inter-discipline to refer to research or knowledge that includes or is informed by knowledge of multiple disciplines or which might span across disciplines or faculties of research and knowledge. Known – Empirical or objective research, seen from an objective viewpoint, includes previously documented scientific study and existing evidence-based historic research. Landscape – the framed view or representation of the environment, land or natural scenery, including river-scapes, vistas or panoramic scenes. Praxis – the practical application of knowledge and skill. The synthesis of both theory and practice. Practice-based research and knowledge derived from the concept of praxical knowledge as proposed by Martin Heidegger. Riparian – pertaining to a river or stream, along the riverbank. Riparian zone = the interface between a river or a natural course of water and land. Unknown – previously unrecorded subjective encounters and less known or previously undocumented research knowledge of the topic. The term Indigenous is used to refer to the era of time during which Australia was peopled by its original inhabitants. The term Aboriginal is used to describe the original inhabitants of Australia. xii List of Image Plates Plate No. Artist Title Media Page Introduction 1. Julianne Tilse Map of the Hunter River Estuary Digital Illustration 3 Chapter 1 2. Julianne Tilse Liminal ii : Swan Reach 2014 Oil Painting on linen on board 13 Chapter 2 3. Julianne Tilse River Rock Grooves 2010 Photograph 36 4. W.W. Thorpe. Map illustrating Hunter River at Newcastle Illustration 39 5. Richard Browne. Native Arms c1813 Illustration / Skottowe Manuscript 46 6. Joseph Lycett. Corroboree at Newcastle c 1818 Oil painting on wood panel 48 7. Joseph Lycett. Aborigines resting by a camp fire Watercolour 49 near the mouth of the Hunter River c1818 8. Joseph Lycet.t Fishing by torchlight c1817 Watercolour 49 9. Julianne Tilse. E.78217 2014 Oil on canvas on board 52 Chapter 3 10. John Shortland. An eye sketch of Hunter’s River 1797 Map 54 11. Francis Barrallier. The Barrallier Plan Map 57 12. Coal River Working. Party Map of Hunter River shown in a satellite image 2006 Map 58 13. Francis Barrallier. The Barrallier Plan (Detail) Map 59 14. Julianne Tilse. Being on Mt. Anne. 2012 Acrylic paint on canvas 62 15. Joseph Lycet.t Aborigines hunting Waterbirds. c1818 Watercolour 64 16. Joseph Lycett. Aborigines Hunting Waterbirds in the Rushes. 1820 Watercolour 64 17. Joseph Lycett. Lake Paterson near Patterson’s Plains, Hunters River. Illustration 66 18. Unknown. (attributed -E.Close ) Port Hunter and its branches. c1819 Map 68 19. Joseph Lycett. View with cattle in foreground, Hunter River. c1818 Oil on canvas 71 20. Joseph Lycet.t Inner view of Newcastle c 1818 Oil on canvas 71 21. Richard Browne. Select Specimens, The Skottowe Manusript Illustration 73 22. Richard Browne. Regent Bowerbird, The Skottowe Manuscript Illustration 74 23. Richard Browne. Butterflies and Moths of N.S.W. Illustration 74 24. Richard Browne. The Black Swan, The Skottowe Manuscript Illustration 75 25. Richard Browne. Nankeen Bird, The Skottowe Manuscript Illustration 76 26. James Wallis/ Joseph Lycett. The Wallis Album Plate 4 c1818. Watercolour / collage. 78 xiii Plate No. Artist Title Media Page 27.