Rosalie Gascoigne

Tree of Life, 1994
sawn painted plywood from cable reels, weathered plywood and painted wooden boards from soft-drink boxes on composite board
133.0 x 84.0 cm
signed, dated and inscribed with title 'Rosalie Gascoigne/1994/'TREE OF LIFE" ' (on the reverse)

SOLD

View extended notes


Provenance
Roslyn Oxley9 Gallery, Sydney
Private collection
Martin Browne Fine Art, Sydney
Lawson’s auction, Sydney, 28 April 2016, lot. 580
Private collection, Sydney

Exhibited
Rosalie Gascoigne, Roslyn Oxley9 Gallery, Sydney, 6-30 April 1994, cat. 5
20th Century Australian and New Zealand Paintings, Martin Browne Fine Art, Sydney, September 1998, cat 30 (illus.)
GowLangsford Gallery at Sydney Contemporary Art Fair, 7-10 September 2017

Literature
Viki MacDonald, Rosalie Gascoigne, Regaro, Sydney, 1998, p.106
Martin Gascoigne (ed.), Rosalie Gascoigne: A Catalogue Raisonné, ANU Press, The Australian National University, Canberra, 2019, p. 273 (illus.) and p. 340

  • Tree of Life

Image courtesy of the Estate of Rosalie Gascoigne and Roslyn Oxley9 Gallery, Sydney


View artist profile

☆ Add to wishlist
A relative latecomer to the art world, Rosalie Gascoigne made an incredible contribution to Australian landscape. It was only after practicing ikebana, the Japanese art of flower arranging, from 1962 that Gascoigne began to turn seriously towards the visual arts. Beginning with iron assemblages from 1964, in the 1970s she made works from animal bones and found objects from Australian country houses. Her aim there and across her career was to depict the land using materials found upon it, a cycle of reuse that mirrors the diversity of relationships that Australians have with the landscape.

In her late work, Gascoigne moved away from the pure display of found objects into more rigorous compositions. From the 1980s, she began using reflective road signs, incorporating text in a gridlike manner reminiscent of crossword puzzles, a favourite pastime. Originally taking the signs as she found them, she began to become more involved in slicing them herself, producing intricate grids of words resembling parquetry. Armed with these segments of yellow signs, sheets of corrugated iron, linoleum and wood, she produced highly textural works, including many large-scale installations.

Gascoigne was born in 1917 in Auckland, New Zealand. She graduated from Auckland University in 1939 and moved to Canberra, ACT in 1943. Her artistic career spanned over 30 years, launched at the age of fifty by the support of the then National Gallery of Australia director, James Mollison. Gascoigne held her last solo exhibition at Roslyn Oxley9 Gallery, Sydney just months before her death in 1999.

In 1982 Gascoigne represented Australia at the 40th Venice Biennale with Peter Booth. Since that time she has been included in many important group exhibitions and solo survey exhibitions in Australia, New Zealand and Europe; such as, at the National Gallery of Victoria, Melbourne (2009); Wellington City Gallery, Wellington, New Zealand (2004); Drill Hall Gallery, Australian National University, Canberra (2000), and with the major survey Material as Landscape, Art Gallery of New South Wales, Sydney, 1997 touring to the National Gallery of Australia, Canberra (1998). Gascoigne's work is held in every state collection in Australia and many regional collections. Rosalie Gascoigne: A Catalogue Raisonné, was published by ANU Press in 2019, compiled by her son, Martin Gascoigne.