Redeeming Memories: A Visual Investigation into the Lives of Convict Women by • Christina Janette Henri, BFA (Hons), Tasmanian School of Art, University of Tasmania Submitted in partial fulfilment of the requirements for the Degree of Master of Fine Arts University of Tasmania Hobart November 2007 DECLARATION Signed statement of originality This Thesis contains no material which has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgement is made in the text. Christina Henri 4'e/t/4.;.34 oli.•s Aos Ate # C.--------- 11 AUTHORITY OF ACCESS Signed statement of authority of access to copying This Thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Christina Henri 4 •,-,„ 1142-7.- C.----------Th 111 ABSTRACT This research explores the artist's role as an instigator, facilitator and advocate. By inviting members of the community to participate in an art project, the research project investigates art's potential for generating significant community engagement and facilitating shared cultural experience. In focusing on the subject of convict women, community participants have both reflected on and raised awareness of a history shrouded by a veil of amnesia. The project has involved the development of a large—scale installation, entitled Departures and Arrivals, individual components of which have been created by members of the public. The installation has been presented in general community settings in cities and towns around Tasmania and in Sydney. The sites chosen have been historic convict sites or art galleries, with the majority of the settings being outdoors. The subject—matter of Departures and Arrivals concerns the convict women of 19th 0 century Van Diemen's ElLand and the extremely high death—rate, even for the time, among the babies of these women within the Cascades Female Factory at South Hobart. A combination of historical research and community involvement in art production has served to encourage reflection on the tragedy of the scores of deceased babies, the grief of their incarcerated mothers and the grim system to which they were all subjected - and the 'forgetting' that ensued through subsequent generations. The project has been informed by the philosophies and strategies of various contemporary artists whose work involves community engagement. Some, such as Vivienne Binns and Olafur Eliasson, involve members of the community in actual creative production. Others, whose work derives from socio-cultural concerns and who present their art in a variety of settings outside the formal gallery situation, include Julie Gough, Anne Ferran, Christian Boltanski, Sue Lorraine, Catherine Truman and Julie Blyfield. Traditional cotton is the principal medium employed in Departures and Arrivals. Consequently, artists have been studied who, likewise; have iv utilised cloth of various kinds as expressive media. These include Christo and Jeanne-Claude, Ann Hamilton and Kim Sooja. The thesis exhibition presents the major component of the installation, Departures and Arrivals: namely, some 1500 'bonnets'. It also includes documentation of the entire project as it has been undertaken in its various locations and lists of names, both of convict mothers and of their lost babies. As an objective of the exhibition is to encourage reflection and contemplation of particular local-historical events, it includes provision for public response, in particular feedback from individuals whose own family backgrounds may connect with those documented through the project. The research project has demonstrated the considerable potential of artist/community collaborations in addressing issues of a community's past: in this case, a painful and hitherto largely unknown aspect of Tasmania's convict history. ACKNOWLEDGEMENTS Due to the nature of my research and art involving thousands of members of the community this list of acknowledgements is extensive. There are many people whose support in connection with this project must be acknowledged. Many have appreciated the wider community context in which I wished to place my art and their support and encouragement has been sustaining. To my uncle Lieut Col. (Hans) Christian Bjelke-Petersen for enriching my soul and enabling me to appreciate the pursuit of art in every day life. I am deeply indebted to my children Michael Darcey, John Darcey and Tami Partridge and their partners Mimi Zhou and Greg Partridge for their love, generosity, assistance and support without which I would not have succeeded in the completion of my research. To my two grandchildren, James and Jess Partridge, many thanks for filling my life with joy and reminding me of the importance and value of unconditional love. To Lindsay Broughton, artist, art theorist, art educator and passionate historian I am most appreciative of the mentorship and supervision offered throughout the duration of this research. I am particularly mindful of the encouragement and guidance given throughout the entire journey which began in 2003 with a University tour given by LindSay Broughton to the Female Factory Historic Site, South Hobart. To my supervisor Professor Noel Frankham, Head of School and Professor of Art I wish to express my gratitude for the experienced advice, direction and counselling offered during my candidature. I wish to acknowledge my appreciation to University staff, collegues and friends, especially to Leigh Hobba, Gerrard Dixon, Pat Brassington,Philip Hutch, Dorothy Maniero, Willi Rae, Chantale De1rue , Zoe Harwood, Michael Lang and Lyn Woolley for their expertise, generosity and friendship. vi To the thousands of participants within the community involved with my art whose contribution of time, talent and energy to this research project has been invaluable, my overwhelming thanks. Departures and Arrivals successful realisation occurred because of your involvement. Most notably I wish to convey my appreciation for the expert assistance and kindness provided by Jill Cartwright, Joyce Mackay and Rita Summers. To those friends whose faith in me has not wavered, my profound thanks. Most significantly I am indebted• to Helen Preston, Kim Paterson, Steve Prati, Myra McLarey, Ann and Dennis Buchannan, Kathy and Chris Rossiter, Joy and Denys Walter, Liz and Dave Rowntree, Jan Cameron, Barbara Mallet, Les Merrick, Wendy Assinder, Megumi Kuroda, Danijela Hlis, Miao Miao Qu, Peter Norton and Michael and Pam Partridge. To the Female Factory Historic Site team, the volunteers, the Board of Management and Project Manager, Shirley McCarron I owe an enormous debt of gratitude. I also wish to express my profound appreciation to Jan and Robert Riggall, Lorraine Wootton, Lesa Scott, Joan Barry, Fran Bladel and Trudy Cowley. To my support team who nurtured me over the past two years I am most grateful especially to Jason Greatbach, Gavin Jaeger, Nadia Dombromilsky, Tessa Blanche, Dr. Elizabeth Davies, Dr Janeil Hall, Marie Jones, Serani Dodson and Andrea Trezise. I am indebted to Michael Darcey and John Darcey for their endless patience and help in assisting with exhibition needs. A special thank you to Kate North, Christina Sonnemann, Vince Brophy and Trica Lain Noakes for their musical contributions and to all those who performed and sang at Events, your contributions were greatly appreciated. Thank you also to John Darcey, Catherine Pettman, Andy Wilson, John Menzies, Josh McDonald, Adam Gibson, Vince Brophy, Deborah Swiss, Maggie Bauer, Constantine Koukias, Justin Murphy, Frank Sanders, Sally Wright, Barbara Edwards, Deb Lewis, vii Eryl and Steve Raymond for their belief and support in establishing ways by which this research may be projected into the future. viii Contents Frontispiece Abstract iv Acknowledgements . vi Introduction: 1 Chapter 1: Historical Context 5 Convict Women in Colonial Van Diemen's Land Chapter 2: Artwork 16. Previous Work 16 Departures and Arrivals 29 Concept and Fabrication Involving the Community Presentation in Various Community Settings Chapter 3. Artistic Context Art and Community 47 Art and Historical Interpretation Artists of Significance to the Research Chapter 4: Exhibition Presentation 71 Conclusion- 75. Bibliography- 82 Appendices: I. List of Illustrations 83 2. Occupations of Female Convicts Prior to Transportation 85 3. List detailing Departures and Arrivals Event schedule 86 4. Associated poems and songs. 900 Babies 87 5. Van Diemen's Land 88 6. In Memory of Little Ones 89 7. Christina's Many Bonnets 90 8. 900 Bonnets 92 9. Curriculum Vitae 93 ix Redeeming Memories: A visual investigation into the lives of convict women. Introduction This project investigates the artist's role as an instigator, facilitator and advocate within the community. By inviting members of the public to participate in an art project, the opportunity arises to investigate art's potential for attracting community engagement and collaboration within the art-making process. Events in 1969 and the early 1970s in America saw the first protests in that country's art world against racial and sexual discrimination. The United States of America also saw the emergence of the Women's Liberation movement, and this which became the catalyst for the feminist art activities of the 1970s. Women's commitment to art that reflected their political and social awareness genuinely confronted artistic practice in the USA with a continued barrage