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Recent works

The Vegetable Lamb
Inspired by the ancient
myth of the Scythian or Vegetable Lamb (a persistent myth of a plant believed
to grow sheep as its fruit) and by contemporary transgenic experimentations,
the artists use topiary to create the incarnation of the fabled lamb. This work
points to the tenuous
boundaries between nature and artefact, re-addressing straightforward
assumptions of what is natural and artificial; of what is born and what is
made. Two sheep are each contained
in lead planters adorned with motifs drawn from neo-classical decorative
features (which coincided with the institutionalisation of modern science) and
contemporary bio-science.
Standing each side of
the western door at the base of the tower (that leans uncomfortably away from
the church and echoes another leaning bell tower from which Galileo supposedly
dropped balls of a different mass) and framing the pastoral landscape beyond, the
lambs are at once familiar and grotesque.

Eggebert-and-Gould also
made Scythian
Lamb (Mutton and Lamb) two accompanying copperplate etchings that function
both as a plan and a copy of the topiary box plants clipped to resemble the
mythical plant-beast. The sheep grazed the herbage and grass around the plant
while tethered to the plant by an umbilical cord – plant and sheep as one
living organism. Resonating with
our contemporary knowledge of transgenics and Dolly the sheep, this creature is
both living and forever locked into the material of its conception. The etchings
allude to the long-standing
tradition of botanical illustrations, suggesting mutuality between the real
object and its representation.
Originally commissioned
for ‘Crossing Over’ at the Royal Institution of Great Britain these works are now
sited in Newchurch for ‘Art in Romney Marsh 2010’. The prints each side of the steps at the western end of the church,
propped by sandbags, quietly echo the presence of the monstrous beasts at the
door, and the vulnerability of the pastoral landscape beyond.

Darwin
Darwin is composed of images selected from over
500 digital photographs taken during Gould's journey through Australia. These
images were emailed to Eggebert back in the UK where she assembled them into an aerial view of how she imagined Darwin might
be. Perhaps the location of Darwin (which the man himself never visited) before
the town and its naming came into being, perhaps Darwin Island that sits somewhere in the Pacific Ocean; rearranging a sequence
of images into an imagined space. Gould's photographs of surface - either from
3 or 33,000 feet - refuse a view and its traditional representation of place. Darwin was made specifically for ‘Altered Sequence’ at E:vent Gallery September - October 2009.
Background to
collaboration

Anne Eggebert also collaborates with
Polly Gould as eggebert-and-gould. They make site-specific multi-media works that explore the
history, architecture, and landscape of a site in order to engage the audience in a critical appreciation of what may be forgotten
stories. They work with people, collections, museums and archives, botanic gardens and landscapes
(both real and imagined). ‘Operating in
locations used to promote knowledge or collate certain domains of thought, their work often subverts, unravels, or plays at
the edges of presented discourses’1.
They began their collaboration in 1999 at the British Library where they installed a sound work around the glass tower
of the King’s Library editing together extracts from the Oral History collection of the National Sound Archive. During 2001 Year of the Artist they were the first ever
artists in residence at Cambridge University Botanic Garden. Their work In the Botanic Garden included
drawings, sound, video and photographic works installed amongst the plant collection in the glass houses, while Transplantation took transformed images of the
Cambridge garden to the Royal Botanic Gardens in Sydney, Australia. They have also shown at Hasting
Museum and Art Gallery; Bury Art Gallery and Museum, Manchester; and Haus am Lutzowplatz, Berlin. Recent exhibitions
include 'Crossing Over' at the Royal Institution of Great Britain, and 'Altered Sequence' at E:vent.
In August 2002 they were awarded Arts Council National Touring Programme funding for nature and nation:
vaster than empires. This
project, conceived, developed and curated by eggebert-and-gould was an exhibition, publication and schools
internet project exploring contested territories – geographical and symbolic; place and landscape; garden and wilderness;
culture and horticulture.
They have recently been commissioned to develop a major public artwork for the new gateway to Milton
Keynes.
nature and
nation: vaster than empires
tiong ang fiona hall sharon kivland rosemary laing karl maughan shaheen merali jacques nimki raqib shaw roy villevoye
Nation: the cultural construction of our identities, sits
next to Nature: not limited by the borders that human vanities might go to war over, cartographers go to pains to draw or
economies contrive to maintain. This nature is ‘vaster than empires'. nature and nation
brings together the work of contemporary artists from Australia, France, India, Indonesia, Mauritius, The Netherlands, New
Zealand, and the UK whose work examines contested territories, both geographic and symbolic. The selected artists all deal
with some aspect of the representation of nature in relation to colonial histories and national identity.
Tiong Ang was
born in Surabaya, Indonesia. In his mesmerising video installations Ang uses a mixture of staged scenes with documentary footage
to evoke a dream state of being cut off from society. It is this constant state of ambivalence and dislocation that allows
the individual to recognise their own state of belonging and alienation within the global sphere. Fiona Hall is an Australian artist working with botanical specimens and systems of classification. She uses
these to reveal the social and economic dynamics of exploitation that characterises the history of botanical collecting and
exchange. When My Boat Comes In demonstrates this through detailed
botanic illustrations painted upon banknotes. Sharon Kivland is an artist,
writer, and occasional curator, living in France and London. She was commissioned to produce a new work for nature
and nation for Hastings Museum and Art Gallery and responded to the Markwick Diaries held in their collection.
Her subtle use of fragments of text as the material for her artwork highlights how nature is represented through language,
evoking intimate relationships to time, ownership and history. Rosemary Laing is an Australian artist living and working in Sydney. For her series groundspeed she photographed floral carpets, which she installed into natural environments, resulting in a seamless
cohabitation of domestic material and vegetable matter. Karl Maughan is
a London based artist born in New Zealand who paints vast garden panoramas in a painterly style with a heightened palette,
composed from references from photographs taken of gardens around the world. He has painted a new work Wollaton Hall as a commission for nature and nation
for the Yard Gallery at Nottingham. Shaheen Merali is a visual
artist, curator and educator of Indian descent, currently living and working in Berlin. His work in the show exploits the
discourses around craft techniques versus high art practices presenting a critical view of post-colonial power relations between
peoples and the control of their local environment. Jacques Nimki
is a London based artist. He works with large fine drawings of plants defined as weeds, or fills a painting with detailed
painted images of plant matter and pressed weeds. All his works are 'florilegiums', after the 17th century catalogues of valuable
plant collections. He has made a new florilegium for Worcester City Museum and Art Gallery in response to weeds gathered locally.
Indian born, UK based Raqib Shaw juxtaposes the studies of exotic
flowering plants grown in the Himalayas with drawings and illustrations from the Renaissance using a rich, ornate technique. Roy Villevoye is a Dutch artist who mainly works with photographs and video footage shot during
his travels in Papua New Guinea and India. While these works engage in a critical dialogue with the heritage of anthropological
photography and film, they also reflect Villevoye’s background in painting in numerous ways, both drawing on and undermining
various traditions.
Curated by eggebert-and-gould in
partnership with Hastings Museum and Art Gallery. Supported by Arts Council England National Touring Programme, Commissions
East, Hastings Museum and Art Gallery, Central Saint Martins College of Art and Design – University of the Arts London.
nature and nation: vaster
than empires
ed. eggebert-and-gould
This 160 page publication
includes ten essays from writer/artists, geographers, art historians, and cultural commentators. The writers were asked to examine the way nature is culturally constructed, aesthetically represented,
and expressed through the written word. The colonising aesthetic of the lawn,
the language of encroachment, the experience of nature as ornament and product are some of the subjects explored in this cross-disciplinary
collection.
The writers are: Charles Allen - writer
and social historian; author of 'Plain Tales of the Raj' 1977 and 'The Buddha and the Sahibs' 1992; Paul Domela Nieuwenhuis
- Deputy Cheif Executive of the Liverpool Biennial; Ivan Gaskell - Curator of Painting, Sculpture, and Decorative
Arts at the Fogg Art Museum, Harvard University; author of 'Vermeer's Wager: Speculations on Art History, Theory, and Art
Museums' 2000; Polly Gould - artist, curator and writer and lecturer at Central Saint Martins College of
Art and Design, UAL; Kitty Hauser - historian, tutor at Ruskin School of Fine Art Oxford, and Research Fellow
at Clare Hall, Cambridge; Isabel Hoving - lecture in Literature at the University of Leiden, the Netherlands; Angus
Jeffery - PhD on 'The British Lawn and Climate Change' at the University of Cambridge; V Ramaswamy
- visiting faculty member in Urban Sociology at the Department of Architecture, Jadavpur University, Kolkata - his essay is
illustrated by Achinto - a Calcutta based photographer; Dr Steve Trudgill - senior lecturer,
Geography Department, Cambridge University; Joanna Walker - PhD student Department of Architecture at Cambridge
University; Julian Walker - artist and writer and first artist in residence at the Natural History Museum, London.
Also included are images of work by the
exhibiting artists. This was on sale at the touring
venues, Tate Britain during the Art of the Garden exhibition, the British Library
during the Writer in the Garden exhibition and is available from Amazon Books.
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