such as Eugene von Guerard’s Govett’s Leap and Grose River Valley, Blue Mountains, New South Wales (1873). However, the Blue Mountains and their surroundings have been home, to and formed an important travelling route for, many Aboriginal groups for over 40,000 years, long before the arrival of European settlers. Their presence is scarcely acknowledged in those colonial depictions of the mountains. When they made an appearance in early records, they were often depicted as part of the flora and fauna or objects of scientific interest. One of the few colonial artists who employed a more sympathetic style was J. Alphonse Pellion (1796-1868). His portrait of local Darug people Aurang Jacke chef de Spring-Woode, dans les montangnes Bleus, avec 2 femmes. BetzyNatiwoé. Merey (1819) (Aurang-Jack with his wives Betzy-Natiwoé) is inscribed with their actual names, 3 which shows a more humanistic approach. In the late 20th and early 21st century artists’ focus shifted from depicting the mountains natural beauty and tales of heroic discovery to a more comprehensive inquiry into their cultural and historical significance for both their Indigenous and nonIndigenous inhabitants. The Greater Blue Mountains have been, and are, home to six distinct Aboriginal 4 language groups . The expulsion of the Indigenous peoples from this area went hand-in-hand with 19th century colonial exploration. It resulted in loss of living space, hunting grounds, sacred stories and connection to country and still causes deep trauma today. For early settlers with a European understanding of ‘nature’ the mountains were a harsh place, and many struggled adapting to this ‘unforgiving’ environment. It is therefore important 6
that current artistic practice considers and celebrates both the Aboriginal and colonial history of the Blue Mountains and it is necessary for us to reflect upon the significance and meaning of ‘place’ and ‘ownership’ within this area. Whilst each artist in Field Trip presents us with an individual narrative, strong links between the works are apparent. The themes explored in each work resonate deeply with the idea of place, belonging, discovery and loss. These artistic inquiries provide a starting point for an open-ended dialogue about possibilities of physical and emotional engagement with a place and its significance from an environmental, cultural, spiritual and historical standpoint. I would like to acknowledge Damian Castaldi and Solange Kershaw (s o d a c a k e), who were part of the first nine months of the Field Trip project and due to circumstances beyond their control had to withdraw from the exhibition. All artists involved and myself thank them for their contribution. Field Trip was exhibited on the traditional lands of the Darug and Gundungurra Peoples.
Sabrina Roesner Curator References:
1. Maeda, J. (2013) ‘Artists and Scientists: More Alike Than Different’ www.scientificamerican.com 2. McGrath, A. (2015) ‘Crossing history’s mountains: the historic values of the Greater Blue Mountains’ in ‘Values for a new generation’, Greater Blue Mountains World Heritage Advisory Committee 3. Wilson, G. (2012) ‘Picturing the Great Divide’, Blue Mountains Cultural Centre 4. Six language groups have been identified as the traditional owners of the Greater Blue Mountains World Heritage Area: Darug, Gundungurra, Wanaruah, Wiradjuri, Darkinjung and Tharawal. Yet many other Aboriginal people may hold strong connections to the Blue Mountains. Source: http://whc.unesco.org/en/list/917 (2017)