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Elizabeth Bay House A R T I S T S Recent solo exhibitions include Blue Jay way, Heide Museum of Modern Art and Penrith Regional Gallery & The Lewers Bequest (2007), Sound of bamboo, Jayne Dyer has an extensive national and Artspace, Royal Botanic Sound of lotus international exhibition and awards record. Gardens, Sydney (2002), , Mori Quarrying memory She has participated in curated touring Gallery (2002) and , Gallery ELIZAB E T H B A Y H OUS E exhibitions Translucent text (2007), Drawing 4A (2000). Sue represented Australia in the dust (2003), Skin culture (1998–99), Affinities Echigo-Tsumari Art Triennial, Japan (2006). Light (1997) and Oblique travellers (1996–97) in Other recent group exhibitions include sensitive A Asia. Major solo exhibitions include Words for , National Gallery of Victoria (2007), matter of time pictures, Hong Kong (2007), Greyspace, Osaka , 16th Tamworth Fibre Biennial First impressions (2005), Critical influence, Sydney (1998) and (2004–06), and , National Site, Beijing (1996). Grants include artist-in- Gallery of Victoria (2003). residence, Lingnan University, Hong Kong Susan Andrews was born in England and (2007), FONAS Studio, Cité Internationale des migrated to Australia with her family in 1966. Arts, Paris (2005), NAS travelling scholarship, She completed a Bachelor of Visual Arts at City Hong Kong (2000), Art Gallery of NSW Art Institute (now College of Fine Arts, COFA) (1999), DFAT exhibition funding, CAFA, in 1984, a Postgraduate Diploma in Art Studies Beijing (1996), an Asialink/VACB residency, in 1985, and an MA Arts at UWS Nepean in Beijing Art Academy (1995), and the Verdaccio 1997. Susan has been a lecturer in painting and Studio, Italy, Monash University (1993). Jayne drawing at the National Art School since 2000, was commissioned to produce The reading and a part-time lecturer at COFA since 1997. room, stage installations at Sydney Theatre for From 2000 to 2002 Susan was a visiting artist the 2006 and 2007 Sydney Writers Festivals. within the Science Faculty at the University As Head of Public Programs at the National of NSW, where she collaborated with artist Art School, she received a Public Service Isobel Johnston and various staff and students Medal in 2005 for contributions to the arts in projects dealing with art and science. This and education. Jayne has an MA from RMIT culminated in Imagining science, at the Tin University, Melbourne. She is represented by Sheds, Sydney University (2002). Susan was Uber Gallery, Melbourne. included in Intersections with art and science Sue Pedley is an artist whose processed-based at Ivan Dougherty Gallery (2001). She was approach explores ways to experiment with awarded an Art Gallery of New South Wales, different materials and their relationship to Denise Hickey Memorial Studio at the Cité place, and to reformulate basic elements of time, Internationale des Arts, Paris (2000). Artist-in- light and space. Sue has a Master of Visual Art residence awards include FONAS Studio, Cité from COFA, and has also studied at Sydney Internationale des Arts (2005) and Bundanon College of the Arts; Stadelschule, Frankfurt, Trust (2005). Susan is represented by Legge Germany; and the Tasmanian School of Art. She Gallery, Sydney. has undertaken studio residencies in London, Cover: U’vla marina France, Germany, Vietnam and Sri Lanka Sue Pedley funded by the Australia Council and Asialink. corn husks Published in association with the exhibition Spare room at Elizabeth Bay House 14 July – 21 September 2007 Published by the Historic Houses Trust of New South Wales The Mint, 10 Macquarie Street, Sydney NSW 2000, Australia www.hht.net.au © 2007 Historic Houses Trust of New South Wales and the artists I N S T A L L A T I O N S B Y The Historic Houses Trust is a statutory authority of, and principally funded by, the NSW State JAYNE DYER, S U E P E D L E Y A N D S U S A N A N D REWS Government. The Trust conserves, manages and interprets important properties and house museums in NSW for the education and enjoyment of the public. Properties of the Trust include: Elizabeth Bay House, Elizabeth Farm, Government House, Hyde Park Barracks Museum, Justice & Police Museum, Meroogal, Museum of Sydney on the site of first Government House, Rose Seidler House, Rouse Museums are significant sites of inspiration It is worth recounting a brief history of the father’s assistant, illustrator of botanical Hill estate, Susannah Place Museum, The Mint and for artists who see the legacy of the past in house before considering the installations. specimens and William Sharp Macleay’s Caroline Simpson Library & Research Collection, and Vaucluse House. contemporary life. Places such as Elizabeth Alexander Macleay arrived in Sydney with correspondent on the building of the house, This catalogue is copyright. Apart from any fair Bay House played a role in the colonial his wife and six daughters in 1826 to take had died in 1836. dealing for the purpose of private study, research, project of imperial powers during the 18th up the post of Colonial Secretary of New criticism or review, as permitted under the Copyright and 19th centuries and have now become South Wales. Macleay was retired from the Macleay lost his position as Colonial Act, no part of this publication may be reproduced by places for engagements with its legacy. In British civil service and had been a member Secretary in 1837 and in the Depression any process without written permission. that sense, we are now looking ‘beyond the of leading British scientific bodies, the of the early 1840s faced financial ruin. In Spare room continues a distinguished series of mausoleum’ towards a more revelatory idea Linnean Society of London (of which he 1845 William Sharp Macleay assumed contemporary art-based exhibitions at Elizabeth of the museum as a site for new ways of was Secretary, 1798–1825) and the Royal ownership of the house in return for part Bay House that has included Fiona Hall’s Paradisus payment of his father’s debts. In the rift terrestris series (1990); Cyclopaedia by Fiona thinking and imagining life in the past; as a Society. Macleay brought one of the largest Macdonald (1990); Artists in the house! curated by site for revealing how knowledge is created. insect collections in Europe to Sydney that followed Alexander and Eliza Macleay Michael Goldberg (1997); Magical Golland by Alison Elizabeth Bay House is an artefact, a and had extensive interests in botany and moved out of the house. William lived Clouston (2001); Cabinet of curiosities by Robyn container for collections of cultural material horticulture. there alone until his death in 1865. Both he Stacey (2002); and Ten[d]ancy, curated by Sally Breen and intangible cultural baggage, and a and the next resident, his cousin William and Tania Doropoulos (2006). Part of Tracey Moffat’s Macleay took possession of 54 acres at Laudanum series was filmed at Elizabeth Bay House museum. Its impact is evident beyond John Macleay, added to the Macleay in 1998. the actual site and period in which it Elizabeth Bay in 1826 and began to natural history collections. These were The artists would like to thank Yi Hong Chen, originated, as we see in Spare room and the develop it, at great expense, as a landscape presented to the University of Sydney with Tien Le Thua, Miriam Moloney, Ambrose Reisch, installations of Sydney artists Jayne Dyer, garden with vistas across Sydney Harbour. an endowment for the Macleay Museum Geraldrine Carter, Ian Johnson, Les Wadham, Rob Sue Pedley and Susan Andrews. Construction of the house began in 1835 in 1888. In 1911 the Macleay family sold Moxham, Peggy Pedley, Sophie Verrechia, Renate under the fashionable architect John Verge. Elizabeth Bay House.1 Cross, David Needham, Cyrus Irani, Julian Wrigley, The artists have found conflicting voices in It is a superb example of a Greek Revival Mona Ryder, Michael and Mali Sheridan, Reg The significance of the site as central to a Newitt, John Ramsay, Gemma Young, Amanda the history of Elizabeth Bay House. These villa whose interiors are notable for their Coulston, Rebbecca Synnott, Justine Muller, voices include the 19th-century gentility detailing, particularly the quality of the particular knowledge of the colony is the Louisa Chan, Joan Grounds, Rosemary Laing and of the Macleay family, the muted voices of cedar joinery, plaster and stonework. focus of Jayne Dyer’s installation. Rows Christine Morrow the Macleay servants, and now its museum The saloon, with its elegant cantilevered of books are suspended in and partially Edited by Margaret McAllister voice. The installations respond to visual stair, is regarded as the finest interior in block the doorway between the drawing Installation photography by Jenni Carter relationships between the landscape and Australian colonial architecture. In 1839, room and the library. Dyer is responding Designed by Beau Vandenberg the house, containment and the taxonomy Alexander and Eliza Macleay moved into to the work and life of the one of the Printed by Bloxham and Chambers of people and collections, the textiles the incomplete house with their eldest Macleays: the collector and ambitious taxonomist William Sharp Macleay, who Right: Under my thumb of domestic life, and the significance of son, William Sharp Macleay, and Susan Andrews Elizabeth Bay House as a site of knowledge unmarried daughter, Kennethina. Their developed a highly artificial classification pigmented cast wax thimbles creation for and about the colony. eldest daughter, Fanny, who had been her system that became known as the circular 3 or quinary system. This proposed that at any level of taxonomy, groups could be linked by a series of affinities into a circle of five elements, and the elements of one circle could be linked by analogy to the five elements of another circle.
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