Home Sweet Home: works from the Peter Fay collection

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Home Sweet Home: works from the Peter Fay collection 11 October – 18 January 2004 Dr Deborah Hart, Senior Curator of Australian Paintings and Sculpture at the National Gallery of Australia, interviewed Peter Fay about a selection of works from his collection represented in Home Sweet Home. Images of the works, along with audio excerpts from the interview and transcriptions are all available below. Select the 'HIGH' or 'LOW' audio quality depending on the speed of your internet connection. Essay by Dr Deborah Hart A National Gallery of Australia Travelling Exhibition



		The gaze of the birds is so intense and it’s so still; they’re so real; they’re there, and yet the grouping and the clustering is a museum thing. They really do put an edge on me... High \| Low
Laurence ABERHART Moreporks (Bird Skins Room no. 2) Taranaki St, Wellington, 3 October 1995 1995, printed 2000 Click image to enlarge



		It’s made out of cardboard, and decorated in the most idiosyncratic way. It also doubles as a penholder. Slim’s a great one for making sure that we’ve always got a pen, because, as he says, you never know when you’ll want one... High \| Low
Slim BARRIE Lady driver 2000 Click image to enlarge



		Within the dynamic of the photograph, which of course stops things dead, the great sense of energy and ongoing drama continues. it combines all of our own senses of ‘shark’, especially with the Australian dynamic... High \| Low Education Resource
Ken BOTTO Deep shadows 1983 Click image to enlarge



		It’s got an ape-like look to it, and yet it’s obviously one of us. It’s quite an unnerving piece, because everything about it is so ‘bad’, and yet there’s a magic that comes through... High \| Low
Dallas BRAY Hairy man 1992 Click image to enlarge



		It is a theme that runs through this collection; it’s the way in which the found, the discarded; the refuse of life… the detritus… There are artists out there who can turn that so simply, at just a turn, into something that is so beautiful and is so poetic, and never attempting to disguise what those objects are... High \| Low
Bill CULBERT Yellow still life 1989 Click image to enlarge



		This square, the text, and the black object are vying for attention, vying for story telling. Whose story is it here that we are looking at? What is the relationship of the so-called ‘dimension of television’; of these fake characters, in our own lives? High \| Low
Leo CUSSEN Xena 2000 Click image to enlarge



		I was very fortunate to meet Rosalie. I met Rosalie at a time when I had left teaching and was starting to make work myself, and had struggled with painting, which I was not happy with, and it wasn’t right for me... High \| Low
Rosalie GASCOIGNE Down to the silver sea 1981-82 2002.129 Click image to enlarge



		Shaun rang me to say that the work was finished, and that it was a video. I thought ‘Oh, dear oh dear’ My heart sank. But I thought ‘No, this is good. I’ve got to support this, and I’ve got to be interested’... and he showed me this most extraordinary video piece of his skateboarding... High \| Low
Shaun GLADWELL Storm sequence 2000 Videography: Techa Noble Soundtrack: Kazumichi Grime Click image to enlarge



		Fiona was a young artist, along with a lot of young artists who were showing in the Mori Gallery in Sydney. And this was a work for a show which was site specific, at Elizabeth Bay House, in Sydney... High \| Low
Fiona MacDONALD Five paces 1989 2002.132 Click image to enlarge



		MacPherson’s work I have looked at for a long, long time. This particular work; I’ve never really looked upon it as being an image of a vase of flowers. To me this is very much a painting about painting. I mean, there’s the whole history of the Black Square. To me this is a painting about mark-making, and what it is that an artist does... High \| Low
Robert MACPHERSON "Mayfair: Fresh Cut, 2 Frog Poems and a Rose for William Neaves" 1998 Click image to enlarge



		Here is this dog… someone’s pet… lost. And what Noel has done here is to recreate in paint the dynamic of the poster, mainly that which has come into play since home computers and desktop publishing... High \| Low Education Resource
Noel McKENNA Lost, Heathcliff 2001 Click image to enlarge



		I’ve only really discovered her work within the last six months, but I’ve recognised in her an extraordinary talent… and her painting of herself at three months; the moment I saw that… I just think that is nothing short of a masterpiece... High \| Low
Lisa REID Self-portrait at three months 2002 Click image to enlarge



		She was attacked for denigrating welfare housing by suggesting that people of extraordinary sortof physical dimensions lived in these buildings. I had exactly the opposite response. When I saw this photograph it was my parents’ wedding... High \| Low
Ava SEYMOUR White wedding, Invercargill 1997 Click image to enlarge



		There was this poppy piece; luminous, large, crying out amongst this host of landscapes, and personal dilemmas, and dioramas… and here was this piece that was just so lovingly beautiful. Yes, they were poppies, but they were something else... High \| Low
Gina SINOZICH Poppy field 2002 Click image to enlarge



		Val is a New Zealand artist who lives in the sort of hinterland of the North Island, and almost through a rural isolation and very straightened circumstances which she lives, is somebody whose whole culture comes out of television... High \| Low
Val SUTHERLAND Shell doll 2000 Click image to enlarge



		it is, I think, a great testimony to the artist’s skill, to be able to be so playful, and yet at the same time there’s the sense of the imprisoned character behind this sort of ‘clock face’. It’s a lovely, little moment that has a very big metaphysical dynamic to it... High \| Low Education Resource
Ricky SWALLOW Clockman 1998 Click image to enlarge



		When I faced the bushfires in 1994, with a policeman knocking on the door saying I had ten minutes to get out of the house, I took three objects with me and Pink was the first thing into the car.. High \| Low
Pat THOMPSON Pink 1972 Click image to enlarge



		He’s got an extraordinary mind for detail; he remembers at seventeen being in Nolan’s studio when Nolan was painting his really great works, so there are lots of sort of references back into other objects and other paintings in the collection through Ken, and he’s a great repository that way, but I just think this painting is an absolute ‘key’... High \| Low
Ken WHISSON Dark sail 1967 Click image to enlarge