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Simryn Gill

Untitled (Interior) II  2008

bronze

9 × 36 × 27cm, irreg.

Museum of Contemporary Art, donated through the Australian Government’s Cultural Gifts Program by the artist, 2013

2013.2

About the Artwork

Untitled (Interior) II is a bronze casting of a crack that formed in the ground during a long drought. The work is a unique edition from a series of five castings that were made in locations near Nyngan in western New South Wales and Lake George, just outside Canberra. These works were cast in bronze by Apisit Nongbua, a Thai sculptor who works in traditional bronze techniques.

Untitled (Interior) II documents a void that is both ephemeral and in flux. The sculpture suggests something that is invisible or intangible but loaded with a range of shifting meanings – in this case the negative space of a crack in the earth. These cracks, desiccated by drought and preserved in bronze by Gill will, in time, be filled by water, mud and dirt. This idea of the passage of time, of states of transformation and change, are recurring themes in Gill’s work, as is her focus on found or overlooked objects. In Untitled (Interior) II she records a transient state, a symptom of the climate and a rupture in the earth that will continue to change over time as it shifts from dry to wet, infertile to fertile. In other works, using photography and carbon rubbings, Gill has created similar transcriptions of objects and states of being manifesting decline or decay, and the impact of the natural environment on the built world. The bronze cast creates another kind of analogue transcription which makes permanent that which we presume to be in a state of flux. In using a traditional sculptural material such as bronze, and working with a craftsperson whose family has been making bronze Buddhas for temples and the Thai royal family for generations, Gill draws on a range of art historical and cultural references. As Russell Storer writes, ‘Gill’s work takes up a questioning, playful mode that collapses together multiple histories – personal, local and art-historical’.[1]

[1] Russell Storer (ed.), Simryn Gill, Walter König, Köln, 2008, p.42.

Simryn Gill

– About the artist

Born 1959, Singapore. Lives and works Sydney and Port Dickson, Malaysia.


Simryn Gill has a diverse art practice, including making photographs, sculptures and collections, writing and drawing. Her work has been seen in several solo and group exhibitions including Hugging the Shore, NTU Center for Contemporary Art, Singapore (2015); Sites of Reason: A Selection of Recent Acquisitions, Museum of Modern Art, New York (2014); Here art grows on trees, Australian Pavilion, 55th Venice Biennale, Venice (2013); Lasting Images, Solomon R. Guggenheim Museum, New York (2013); 5th Moscow Biennale of Contemporary Art, Moscow (2013); dOCUMENTA 13, Kassel (2012); Untitled: 12th Istanbul Biennial, Istanbul (2011); Simryn Gill: Inland, Centre for Contemporary Photography, Melbourne (2009); Simryn Gill: Gathering, MCA, Sydney (2008); dOCUMENTA 12, Kassel (2007).

Gill is represented in the collections of, among others, the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; M+, Hong Kong; Museum of Modern Art, New York; National Gallery, Singapore; Queensland Art Gallery | Gallery of Modern Art, Brisbane; Solomon R. Guggenheim Museum, New York; Tate Collection, London; and a number of private collections.

Learn more
– Other collection works by the artist

– View also

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