The Legacy of Lesser Gods Author Presley, Ryan John Published 2016 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art DOI https://doi.org/10.25904/1912/3894 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367360 Griffith Research Online https://research-repository.griffith.edu.au THE LEGACY OF LESSER GODS Ryan Presley BFA with Honours (1st class) Queensland College of Art, Griffith University Queensland College of Art School of Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy April 2016 Ryan Presley – The Legacy of Lesser Gods Statement of Original Authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. Signature: Date: 28/10/2016 2 Ryan Presley – The Legacy of Lesser Gods Abstract This project highlights deeply embedded links between religion, economics, and power in colonial societies of the ‘West’, with a particular focus on Australia. Archival imagery and historical texts are examined to demonstrate the negative influences of particular monotheistic ideas and notions of supremacy. It is argued that these prevailing views have been adopted in the global propagation of Christian faith over many centuries. The imagery is paired with historical examples that demonstrate a conversion mentality that aimed to control any alternative practices of divine worship and associated culture. The legacy is then brought to bear on the contemporary treatment of Australian Aboriginal people. These themes of power and dominion—in particular, how religion and economic control served colonialism and empire building over time—have become the foundation for the primary outcomes expressed through the studio production. The creative outputs of my doctoral research include a major installation entitled Lesser Gods and associated exhibition projects, which will be discussed and analysed in this exegesis. 3 Ryan Presley – The Legacy of Lesser Gods Acknowledgements I would like to acknowledge and thank my supervisors Pat Hoffie, Elizabeth Shaw, and in particular Ross Woodrow, the latter of whom acted as my primary supervisor for the majority of my candidature and was a significant support. His interest and resourcefulness made a great contribution to many undertakings that were a part of the overall candidature. Profound thanks to Evie Franzidis for editing the final draft of my exegesis and advice during its drafting. Thanks to Sam Canning for his contribution to the Warriorism spearheads in reworking my detailed hand-drawn designs into three-dimension digitised format. I’d like to also thank Robert Andrew for his tireless work in contributing to my Lesser Gods installation and for his other assistance in offshoot experimental works. I thank Dale Harding for his time and patience as a sounding board and also for his much appreciated contributions to the Lesser Gods work. Thank you to Louise Harvey for her voluntary work on the Lesser Gods animation. Much thanks to David Jones for all his time and effort in assisting with proofing/editioning my print work over the years. Very grateful also thanks go to Carl Warner, who has been almost the sole documenter of my work. His skills, time, and ideas were essential to this project; most of the finished works in this exegesis were documented by him. Special thanks also to my sister Renée for her time and words of support. Last but not least, special thanks to my mother, Ingrid, who raised my sister and I as a single parent, worked hard to get us out of the public housing system in Alice Springs, moved us to Brisbane, and worked full-time shift work while completing university and raising us. I dedicate this to you for all the sacrifices you have made over the years and for showing me a better life and greater potentials. Table of Contents 4 Ryan Presley – The Legacy of Lesser Gods Abstract 3 List of Figures 6 Introduction 8 Chapter 1. Debt: God’s Time and Money 11 1.1 Making Progress 11 1.2 Christ as the Redeemer 17 1.3 In This Conquer! 19 1.4 Blessed Is the Warrior 22 1.5 Will Ye Contend For God? 23 1.6 Blessed Is the Banker 25 1.7 The Spearhead of Christendom 27 1.8 Killer Trade 28 Chapter 2. Credit: God’s Thirst for War 33 2.1 Converts and Civilisers 33 2.2 Responsibilities of Warrior Saints 39 Chapter 3. Lesser Gods and Beyond 45 3.1 Personal History and Works Preceding Doctoral Study 45 3.2 Warriorism 50 The Work of Lesser Gods 3.3 Lesser Gods 52 3.3.1 Beginnings of the Lesser Gods Artwork 52 3.3.2 Creation of the Lesser Gods Artwork: Influence of the Icon 56 3.4 After Lesser Gods 77 3.4.1 Bedburner 77 3.4.2 dominium 83 3.4.3 1675kmph towards the ends of the earth (Might or right, Heavy or light) 86 3.4.4 Warheads 93 3.4.5 Crown Land (to the ends of the earth) 95 3.4.6 Themesong 99 3.5 Allied Contemporary Practitioners 101 Conclusion 107 Reference List 110 Bibliography 119 Appendix – Install of Themesong Exhibition 129 List of Figures: 5 Ryan Presley – The Legacy of Lesser Gods Fig. 1 Ryan Presley Blood Money – 20 Dollar Note – Woloa Commemorative 13 2010, watercolour on Arches paper, 90 x 45 cm Fig. 2 Ryan Presley Warheads 2015, 100 x 50cm, linocut (single skull detail) 15 Fig. 3 Unknown artist St George and the Dragon, Novgorod School, natural 21 pigment and gold leaf on pine Fig. 4 My grandfather (centre) with my uncles, aunties, and my father (left, sitting 45 in the ute tray), ca.1960. Fig. 5 Our Lady of the Sacred Heart Catholic Church, Alice Springs, view from 46 Anzac Hill. Fig. 6 Ryan Presley Blood Money – 20 Dollar Note – Jandamarra 47 Commemorative 2011, watercolour on Arches paper, 90 x 45cm Fig. 7 Ryan Presley Chain Reaction: C Patrol 2010, linocut on Magnani paper, 48 30 x 30cm Fig. 8 Ryan Presley Chain Reaction: C Maneater 2012, linocut on Magnani 48 paper, 30 x 30cm Fig. 9 Ryan Presley Possession 2012, oil on linen, 100 x 72cm 49 Fig. 10a Ryan Presley Warriorism 2013, 3D printed stainless steel, oak, synthetic 50 polymer paint, 300 x 250 x 270cm Fig. 10b Detail of 3D printed stainless steel spearhead 51 Fig. 10c Example of one carved section of the oak spear shaft 51 Fig. 11a Ryan Presley The Good Shepherd 2014, woodcut on Magnani paper 52 Fig. 11b Ryan Presley The Golden Calf 2014, gilded woodcut block 54 Fig. 12a Ryan Presley Lesser Gods (install shot) 2014, mixed media, No Vacancy 55 Gallery, Federation Square, Melbourne Fig. 12b Ryan Presley Lesser Gods (partial install shot) 2014, mixed media 55 Fig. 12c Ryan Presley Lesser Gods (partial install shot – dance floor) 2014, mixed 56 media Fig. 12d Ryan Presley Lesser Gods (partial install shot – dance floor operation) 56 2014, mixed media Fig. 13a Unknown artist Old Testament Trinity 17th century 58 Fig. 13b Ryan Presley Consultation 2014, watercolour, gouache, and gold leaf, 40 x 58 30cm Fig. 14a Cretan School Transfiguration 16th century 59 Fig. 14b Ryan Presley Transfiguration, 2014, watercolour, gouache, and gold leaf, 59 40 x 30cm Fig. 15 Ryan Presley dishonourable-discharge-fever 2014, watercolour, gouache 61 on Arches paper Fig. 16 Ryan Presley Lesser Gods (partial install shot) 2014, No Vacancy Gallery, 62 Federation Square, Melbourne Fig. 17a Unknown artist, St George and the Dragon, 16th century 63 Fig. 17b Ryan Presley Payback 2014, watercolour, gouache, and gold leaf, 40 x 63 30cm Fig. 18 Audience member activating Lesser Gods dance floor tile 2014 67 Fig. 19 Photo documentation of Cymatic experimentation 2014 68 Fig. 20 Ryan Presley Heretic Cymatic series (select images) 2014, watercolour, 69 gouache and synthetic polymer paint, 40 x 30cm each Fig. 21 Photo documentation of Heretic Cymatic sequencing production 2014 70 6 Ryan Presley – The Legacy of Lesser Gods Fig. 22 Example documentation of Heretic Cymatic sequencing – initial brief 2014 71 Fig. 23 Example documentation of Heretic Cymatic sequencing – final brief 2014 72 Fig. 24 Example of beating heart motif with change in Cymatic background. (image 73 on the far right is the resulting digital still) 2014 Fig. 25 A variety of changes were able to be made and inserted to develop the 73 scene (image on the far right is the resulting digital still) 2014 Fig. 26 The figures that were designed to be spliced into the wave animation 74 (image on the far right is the resulting digital still) 2014 Fig. 27 Leviathan scales emerging from Out to Sea section 2014 75 Fig. 28a Hell-mouth, preliminary sketched design 2014 76 Fig. 28b Hell-mouth, digitised design – exploded view 2014 76 Fig. 28c Hell-mouth, install shot, Metro Arts Brisbane 2014 76 Fig. 29 Ryan Presley Bedburner I 2014, watercolour, gouache and gold leaf 78 Fig. 30 Ryan Presley Bedburner 2014, drafting wave transition 80 Fig. 31 Ryan Presley Bedburner 2014, digital repeat of the image showing the 81 transition of one section to the other Fig. 32 Ryan Presley Bedburner 2014, digital print textile, final install at Cairns 82 Regional Gallery Fig. 33 Ryan Presley dominium 2015, multi-plate etching with watercolour, 70 x 84 50cm Fig. 34 Imperial inscriptions on ascent of Mt. Tai or Taishan 87 Fig. 35 Ryan Presley 1675kmph towards the ends of the earth (Might or right, 89 heavy or light) 2015, woodcut, 120 x 70cm Fig.