Mori Gallery, Sydney
Maureen Laing, Brisbane (Rosemary Laing’s mother), acquired from the above in 1987-1988
(probably) The Crossing, with Adrienne Gaha, First Draft, Sydney or Second Glance (at ‘the Coming Man’), College Gallery, Adelaide, and Mori Gallery, Sydney, 1988
Narelle Jubelin – Vision in Motion, University Art Gallery, The University of Sydney, curated by Luke Parker and Ann Stephen, 2012 (no catalogue number)
DoubleTake – Collective Memory & Current Art, Hayward Gallery, South Bank Centre, London, 20 February – 20 April 1992
Narelle Jubelin – Vision in Motion, University Art Gallery, The University of Sydney, curated by Luke Parker and Ann Stephen, 2012, exh. cat. p.10 (list of works)
Greg Hill, Bice Curiger, Lynne Cooke, DoubleTake – Collective Memory & Current Art, Hayward Gallery, South Bank Centre, London, 1992, exh. cat. p.254 (list of works)
This is one of seven works from the Remembrance of Things Past Lays Bare the Plans for Destiny series, 1986-1987.
"Jubelin’s engagement with architecture did not begin with modernism but in the Orwellian year of 1984 when she started sewing renditions of Sydney monuments. Her Proustian tour-de-force Remembrance of things past lays bare the plans for destiny (1986-87) mimics the layout of the colonial city with miniature acts of treason, in anticipation of the bicentennial year of 1988. The works seven panels, housed in seven weighty looking timber frames, imagine a continuous horizon of monuments arching from Sydney Heads to Port Adelaide. The panorama is also durational, moving through night and day with majestic sunsets and cloud effects rendered in a high-keyed discordant palette of pink and green cottons.
It’s long low horizontal stage-set is marked by landmarks - fountains, gates, war memorials, obelisks, and neo-classical facades including the Art Gallery of New South Wales and its typological twin, the Art Gallery of South Australia – bracketed by lighthouses beaming at each other across the vast space.....
Jubelin’s early achievement was in grafting the critical appropriation of needlework - developed by earlier feminist artists - onto architectural and landscape discourses and hence, sexualising their rabid nationalising cultures." (Ann Stephen, Narelle Jubelin: Vision in Motion, University Art Gallery, The University of Sydney. 2012 pp.68-70)
Image courtesy of the artist and The Commercial, Sydney. Photograph by Geoff Boccalatte