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the History of Salt . . . 1

For Christopher Lawrie the corrosive nature of salt provides an aesthetic and cultural metaphor for the attrition of memory and a colonial past. His installations of works on paper utilise historical artifacts to form contexts for contemporary readings of the past.. Hazelhurst Catalogue

Think of salt, and if you are romantically inclined you’ll imagine the crusty remains of a swim in the ocean on a hot summer’s day. For Christopher Lawrie, the mineral forms the basis of his installation pieces both as sculptural tools and as metaphores for history. Using objects which have a unique story, from centenary celebration maps used to line a kitchen floor to music certificates found in a second hand store. The artist salts the paper creating beautiful, textured sculptural pieces. By literally giving history solidity the works confront the viewer with their own role in its continuous evolvement. Naomi Robson Cofa UNSW

 

1 2 3 4 5 6REFERENCE 7BEFORE H of S
THE BOOK  

3 NEW WORKS 2020

THE SALTED BOOKS

‘From Weavers to Wapstraws’ by Ben Evans and Doug Hooper. The Story of Margaret Maxwell Kelly, her Family and her descendants.

I am one of her descendants.

 
 
   

THE FUTURIST'S DILEMMA 2016

Collective memory has recently emerged as a major focus of interdisciplinary research. This study is part of a growing body of literature exploring the social construction of collective memory, the relationship between history and memory, the role of commemorative narratives and rituals in contemporary social life, and their impact on the political sphere. It explores how a society of immigrants, engaged in constructing a distinct national identity and culture, recreated it’s roots in the past. These collective memories of recovered roots became a driving force for change and a means of articulating new values and ideas. In this process the new nation relied heavily on both history and tradition. By introducing a highly selective attitude to them, alternating between rejection and acceptance, suppression and elaboration, it has reconstructed a new national memory and tradition.”
Yael Zerubaval (1995)
Recovered Roots: Collective Memory and the making of Israeli National Tradition.

 

 

 

 

AS YOU WERE . . . 2016

(Collective Attrition) a contemplation of both the personal and the collective attrition of memory.

When is it that a person stops lookinng forward and starts looking back?

 

 
AS YOU WERE  

AS YOU WERE 1946/1949 2015

This work concerns the contemplation of both the personal and the collective attrition of memory and its effect on the creation of our cultural mythology. It is concerned with how memories - both individual and collective - form, evolve, fade and disappear,and questions the reliability of cultural ‘memory’.

 

2015 Finalist,Art on Paper Award Exhibition Hazelhurst Regional Gallery,Sydney

 

   
 
PALYMPCEST  

PALIMPSEST 2017

A manuscript or piece of writing material on which later writing has beensuperimposed on effaced earlier writing

• something reused or altered but still bearing visible traces of its earlier form.

 
 

THE LETTER 2020

That study

   
 

THE SALT LAKE 2005

That study 'The Murray River Barrages Environmental Flows Reort' recommends treating the Coorong and the Lower Lakes as one estuary, openinng the barrages to the sea, and moving the barrages back to Wellington.

The Salt Lake was beautiful. We walked around it and took some photographs.

 
© CL2020