No Borders
Lindi Harris
This work describes my relationship to the Australian landscape and the British Isles, and evokes the power of sacred sites. It alludes to the nomadic nature of humanity, our desire to hold onto memories and objects of the past, and the effect of climate change and erosion on the built and natural landscape. Standing stone circles were constructed in the British Isles as early as 3400 BC and remained in use as astronomical observation devices until around 1500 BC, at which time northern Europe experienced a “global cooling”.1 Populations abandoned the Orkney and Shetland Islands to the north of Britain, and the Hebridean Islands to the west. Due to the subsequent lack of human activity and the peat moss that slowly covered all evidence of early civilisation, these regions today host some of the most well preserved Neolithic sites in the world. The earliest known examples of the Celtic cross, found in France and dated from 10 000 BC, are carved “ancestor stones” thought to contain the spirits of the dead. The Standing Stones of Callanish were originally laid out in the formation of a Celtic cross.2 The evolution of Uluru, central Australia, began over 900 million years ago.3 The warm reds and soft curves and contours of Uluru contrast with the angular cold grey of the Standing Stones of Callanish. As a small child emigrating in the 1960’s from the Northern hemisphere to the Southern, it was this dramatic change in light and colour that left a life-long sense impression. Both the Standing Stones and Uluru hold cultural significance to the people who live amongst them.
Processes and mediums used in this work include linocut, collograph, ink and pastel drawing and collage. Papers are Japanese Kozo, Hahnemuhle and silk paper.
Collaborating on The Border Crossing Art Project
At this stage I have selected another artists work and commenced initial studies with it. What I have learnt is how easy it is to choose similarity. I selected a piece that reflected my own values/ethics/style/medium and I feel very comfortable with it. I knew instantly how I would proceed-or at least had a couple of very clear directions to move in. How would it have been if the piece had been selected for me? If I had been required to respond to a work I didn't immediately understand? Crossing borders is uncomfortable and we avoid it where we can. This project has highlighted my discomfort with that I do not understand. And yet it is difference that attracts me. A paradox.
About Lindi Harris
British migrant 1966
Art student since 1966 (aged 5) when I questioned my mum about why the teacher said I was wrong because I had drawn the strokes the wrong way-my mum (an artist) told me the teacher was wrong.
Early Childhood Education Diploma 1980
SACAE Post Graduate Diploma in Counselling 1995
University of South Australia Cert IV Art Practice 2001
TAFE SA Currently student of Bachelor Degree of Visual Arts and Design
Text written by Lindi Harris
The Earth's waters are both boundaries and pathways for peoples, objects and ideas.
Fumio Nanjo
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