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2012:01:20

Stromatolites

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Bearberries

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Skiier

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Pittsburgh

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Concorde

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[lennycarl08]

20120120-IMG_7640 by lennycarl08 Via Flickr: Rain has finally come back to northern California.

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[indigenouscultured-blog]

[1] Fulton, A. (2012, January 21). Smelly lane gives way to serene cloud steet. The Sydney Morning Herald. Retrieved May 18, 2017, from http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html [2] In Between Two Worlds. (2013). Retrieved May 18, 2017, from http://www.cityartsydney.com.au/artwork/in-between-two-worlds/ [3] Jason Wing. (n.d.). Retrieved May 18, 2017, from https://ocula.com/artists/jason-wing/

[lucy-annkelley460302706-blog]

‘In Between Two Worlds’ is a 2013 street art installation by local artist and Biripi man, Jason Wing. Commissioned by the City of Sydney as part of its Chinatown Public Art Program,[1] the artwork engulfs Haymarket’s Kimber Lane, and is a tribute to the adaptive agency via which Aboriginal cultures have flourished in the contemporary Western landscape.

In his artwork, Wing honours his dual heritage through the meaningful incorporation of both Aboriginal and Chinese symbols.[2] Wing expresses that the swirling blue clouds represent the heavens and everlasting good fortune, and that the motif of the natural elements encompasses the shared belief in Aboriginal and Chinese cultures that earth, air, fire and water possess their own spiritual agency.[3] The thirty metallic figures suspended over the laneway are an acknowledgement of elders past, present and future.[4] Bathing the laneway in an enchanting blue glow which brings the area to life after dusk, these figures accentuate the Week Two discussions regarding the role of the Dreaming as an omnipresent and protective spiritual reality for Australia’s First Peoples. As learned throughout Week Six, the night sky which backgrounds the figures is connected to the dimension of ‘eternal time’ (in which the spirit ancestors exist), and reminds us of the profound esoteric knowledge embedded in Aboriginal astronomy.

By incorporating the themes of heaven and earth, Wing appeals to a “universal spirituality”[5] which transcends cultural differences and allows everyone who passes through his artwork to experience a similarly enriching journey. As expressed by Uncle Bob Randall, such unconditional cultural tolerance involves a transition from “mine-ness” to “ours-ness”, as well as an understanding of the interconnectedness of all life forms.[6] This emphasis on common humanity is influenced by Wing’s own paradoxical position as “an Aboriginal person with white skin”.[7] For Wing, this status as both an insider and an outsider has inflicted a sense of being torn between two cultures – ‘two worlds’. The artist’s public expression of such psychological fragmentation sends a powerful socio-political message in a country in which the Stolen Generations continue.

For Aboriginal Australians, Wing’s artwork is an empowering assertion of cultural continuity and survival. Fostering a social and spiritual connection to the land, the themes embedded in the piece affirm and enhance the integrity and wellbeing of Aboriginal cultures. Furthermore, whilst Aboriginal spiritualty does not promise a life after death,[8] Wing’s incorporation of the heavens provides a salient reminder that death is a natural and inevitable part of life, and that life itself is to be celebrated. Finally, the site’s unexpected beauty amongst the bustling metropolitan landscape promotes the belief in Aboriginal cosmology that there is no divide between the sacred and the profane.[9]

During my visit, I wholeheartedly embraced the journey that Wing envisioned. For me, the clouds were a reminder of life’s impermanency, and the spirit figures a reminder of the life-force which protects all sentient beings. Rather than interpreting the worn nature of the footpath as an indication of neglect and decay, I saw it as the realisation of Wing’s dream that the world he created would be walked through each and every day. There was something captivating about such profound beauty amongst the sound of car horns and the aromas of Chinese cuisine. This culture was not static, but dynamic - alive.

I am not of Aboriginal descent, nor do I feel suspended ‘between two worlds’. I do, however, share Wing’s passion to unveil the hidden elements of Australia’s past, and expose the continuation of practices which dispossess and dehumanise Australia’s First Peoples.[10] It was in visiting Wing’s site that I realised that such a desire for change must be complemented by an awareness that Aboriginal cultures have not merely survived, but thrived – and this, in itself, is something to be celebrated.

[1] City of Sydney, “In Between Two Worlds,” City Art Sydney, accessed April 25, 2017,

http://www.cityartsydney.com.au/artwork/in-between-two-worlds/

[2] City of Sydney, “In Between Two Worlds.”

[3] City of Sydney, “In Between Two Worlds.”

[4] City of Sydney, “In Between Two Worlds.”

[5] Adam Fulton, “Smelly Lane Gives Way to Serene Cloud Street,” The Sydney Morning Herald, last modified January 21, 2012, http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html

[6] Bob Randall, Songman: The Story of an Aboriginal Elder of Uluru (Sydney: Australian Broadcasting Corporation, 2003), 24.

[7] Karina Marlow, “Jason Wing: Challenging Audiences with Contemporary Cross-Cultural Art,” Special Broadcasting Service, last modified 13 June, 2016, http://www.sbs.com.au/nitv/article/2016/06/09/jason-wing-challenging-audiences-contemporary-cross-cultural-art

[8] Vicki Grieves, “Aboriginal Spirituality: A Baseline for Indigenous Knowledges Development in Australia,” The Canadian Journal of Native Studies 28, no. 2 (2008): 367.

[9] Vicki Grieves, “Aboriginal Spirituality.” 368.

[10] Karina Marlow, “Jason Wing.

[hlit1996-blog]

References

City Art Sydney (2013) In Between Two Worlds. [Online]. Available from: http://www.cityartsydney.com.au/artwork/in-between-two-worlds/ [Accessed 05/14 2017].

Fulton, A. (2012) Smelly lane gives way to serene cloud street. [Online]. Available from: http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html [Accessed 05/14 2017].

Marlow, K. (2016) Jason Wing: challenging audiences with contemporary cross-cultural art. [Online]. Available from: http://www.sbs.com.au/nitv/article/2016/06/09/jason-wing-challenging-audiences-contemporary-cross-cultural-art [Accessed 05/14 2017].

O'Riordan, M. (2011) Biography. [Online]. Available from: https://www.daao.org.au/bio/jason-wing/biography/ [Accessed 05/14 2017].

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[barbaranielsenindg1001-blog]

I want to encourage people to look both down and up, representing heaven and earth, and we're walking in the middle.

Fulton, A. (2012), ‘Smelly lane gives way to serene cloud street’, The Sydney Morning Herald, accessed online via http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html on 05/05/17

[inbtwntwowrlds]

The most initial, most prominent meaning I took from the art work came from its context. It is just off Dixon St, adjacent to the main strip of Chinatown in Haymarket. I viewed the work on a Saturday night, and from the bustling restaurant fronts I stepped around the corner into a quieter, darker space lit by floating blue figures.

From this context I thought about the long history between Aboriginal and Chinese people in Australia, marked by attempts by the white population to subjugate and legislate both populations (Ramsay 2011). The cross-cultural relationship stretches back to the nineteenth century, but this modern work, highlighted in neon lights, reminds the viewer of the ongoing cultural exchanges and hybridity of modern Australia. The “half human, half spirit figures represent our past, present and future ancestors”, and I could see the space as a palimpsest of Sydney history (City Art).

Jason Wing’s work was commissioned by City of Sydney, and I felt this is an interesting contrast to past governments’ complicity in prohibitions of Aboriginal-Chinese communities. The active movement to revitalise the laneways in the area by acknowledging cross-cultural relations feels like a step towards truly embracing a multicultural society and embracing the long history of communication and trade that Aboriginal society have done well. Wing has said that the work can be seen as having a “universal spirituality” and appeals to the global community around Chinatown (Fulton 2012). This is one of the ways that contemporary Aboriginal cultures are interacting and connecting international modernity.

Personally I did not feel very comfortable in this space. It is aesthetically striking, brightly lit, and pleasing to photograph and look at, but it is inescapably a back laneway with rubbish and no passing traffic. As a woman I felt quite vulnerable and did not want to linger very long.  I did find it effective in evoking the history of an Aboriginal-Chinese spirituality but this was only because I was aware of the meaning prior to seeing it. Stumbling upon it without warning I would have probably assumed, from context, that it was a work by a Chinese artist.

The full extent of the work may not be visible to many passers-by – I would normally only walk as far as Dixon St and not go more west. But the figures do peek out from the lane at the crossroads, and this makes a casual reminder in the viewer of the vibrancy of the art scene and nightlife of the city. I believe Aboriginal people, particularly those of mixed heritage, would feel positive about a work that is so extensive and in the CBD. It is vibrant, fun, pleasing scene (effective to snap for Instagram) and brings the idea of ancestor spirits into the every day. For these reasons I believe it is a good way of connecting Aboriginal people and bringing Aboriginal ideas into the bustling inner city life.

Bibliography

City Art, ‘In Between Two Worlds’, City of Sydney, <http://www.cityartsydney.com.au/artwork/in-between-two-worlds>, viewed 8 May 2017. 

Fulton, Adam, ‘Smelly lane gives way to serene cloud street’, Sydney Morning Herald, 21 January 2012, <http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html>, viewed 8 May 2017.

Ramsay, Guy, ‘Contentious Connections: Removals, Legislation and Indigenous-Chinese Contacts’, M/C Journal, vol. 4, no. 1, (February 2001), <http://journal.media-culture.org.au/0102/connect.php>, viewed 14 May 2017.

[culturalsydney-blog]

“In Between Two Worlds” by Jason Wing is a meaningful centerpiece to Sydney’s cultural-hub, located at the Kimber Lane crossroad in Haymarket. The artwork was installed in 2013 as part of City of Sydney’s $20 million Chinatown Public Art Program, aimed at revitalising the area’s public spaces.[1] It brings a neglected service-lane to life using thirty illuminating spirit-figures and has cloud patterns etched along the pavement and walls, reflective of Aboriginal cave-prints.[2] Influenced by Wing’s dual-heritage, the artwork takes its visitors on a cultural journey through the natural elements of wind, water, fire and earth, Aboriginal and Chinese motifs, guided by past and present Ancestors.[3] Wing obtained Bachelors of Fine Arts and Graphic-design before founding his street-art career.[4]

[1] Fulton. A (2012), “Smelly Lane Gives Way To Serene Cloud Street”, The Sydney Morning Herald, accessed online via http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html on 17/04/17

[2] Marlow. K (2016), “Jason Wing: challenging audiences with contemporary cross-cultural art”, NITV, accessed online via www.sbs.com.au on 14/05/17

[3] City Art Sydney website (2017), “In Between Two Worlds”, accessed via http://www.cityartsydney.com.au/artwork/in-between-two-worlds/http://www.cityartsydney.com.au/artwork/in-between-two-worlds/ on 17/04/17

[4] Jason Wing’s Website (2017), “About page”, accessed via http://www.jasonwing.net/content/?content=about on 11/05/17

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20120120-Bundesliga-FC Bayern vs. M'Gladbach

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[lucy-annkelley460302706-blog]

References:

City of Sydney. “In Between Two Worlds.” City Art Sydney. Accessed April 25, 2017.

http://www.cityartsydney.com.au/artwork/in-between-two-worlds/

Fulton, Adam. “Smelly Lane Gives Way to Serene Cloud Street.” The Sydney Morning Herald. Last modified January 21, 2012.                         http://www.smh.com.au/entertainment/art-and-design/smelly-lane-gives-way-to-serene-cloud-street-20120120-1qa7k.html

Grieves, Vicki. “Aboriginal Spirituality: A Baseline for Indigenous Knowledges Development in Australia.” The Canadian Journal of Native Studies 28, no. 2 (2008): 363-398.

Marlow, Karina. “Jason Wing: Challenging Audiences with Contemporary Cross-Cultural Art.” Special Broadcasting Service. Last modified 13 June, 2016. http://www.sbs.com.au/nitv/article/2016/06/09/jason-wing-challenging-audiences-contemporary-cross-cultural-art

Randall, Bob. Songman: The Story of an Aboriginal Elder of Uluru. Sydney: Australian Broadcasting Corporation, 2003.