Louiseann Zahra singing the praises of the man she loves
human hair, stainless steel/acrylic pins, glass beads
2002

In search of an inspirational exhibition, I sought out the works of Louiseann Zahra in her latest exhibition, Amaranthus caudatus.  Zahra's latest title is borrowed from the botanical name (The plant is a large annual that producers a blood red finger-like cluster of flowers collectively reaching 2 feet in length.)  This survived as a popular flower during the period of romanticism and resurfaced again in stately Victorian gardens at the turn of the 20^th century.  It is I assume its common name, Love Lies Bleeding, that holds most relevance to Zahra’s exploration of human behaviour in this most recent exhibition.

Zahra presents a world filled with admiration and a sense of nostalgia for traditional craft skills that are driven by memory, objects and methods.  In the accompanying catalogue, Zahra states, ‘My work explores issues of longevity and fragility, which determine the construction of a range of objects…along with notions of chance encounters of material, symbol, form, surface and space in the construction of meaning.’

Zahra is included within the recent BIG LOUD NOW (Becton Sculpture Biennial 2002) exhibition at Gasworks Park as the invited feature artist to utilise the theatre space.  The Gasworks Theatre is transformed into an experiential journey that deliberately sweeps the audience along.  A sensory delight of light, sound and movement complementing the cast, hung and etched objects.  Zahra divides Amaranthus caudatus by employing two simple medias; sound and light.  Each has the intensity to draw you transversely through the exhibition space.  The daily dramatics and capabilities of the active theatre are not hidden, but instead are embraced by Zahra’s installation.

Works are dramatically spot-lit, adopting a transient frame, while Soundscape plays continuously through the space in a haunting and mesmerising tone.* Zahra creates a sensory experience that implores the viewer to carefully consider their movements through the darkened exhibition space.  A discreet video work, the nature of the situation between us, projected high onto the black theatre wall, shows a scene of hands holding and flicking through a ‘flip-book’ that takes us on a journey of one birds flight.

This new collection of works, also pays homage to skills and societal constraints long gone.  The language adopted in the exhibition titles reflect a Victorian history where gentlemen were gentlemen and women were apparently nasty.  The scene is set, where what appears to be a weary yet independent woman discusses her current state of restlessness through a series of questionable public statements.  In works such as, it will be necessary to stir up a quarrel between them (bronze cast lace doilies) we note a sense of mischievousness in the tone that may require a dab hand and quick wit to take control of a possibly socially treacherous situation.  A collection bronze (cast) lace doilies are seemingly haphazardly arranged on the wall, transforming them from a simple means of decoration into an exercise in form, shadow and illusion.  Other works exhibited reflect a similar temperament.  I rarely listen to talk of this nature (silver, felt, glass), she babbled to me for an hour (cotton, blood, silver)  and avenging the bitter attacks made upon you (cotton) all suggest no further discussion is warranted and the conversations are now ‘closed subjects’.  In a series of three wall works (each containing the remnants of floral stems cast in silver), the gentleman I mentioned to you, he is very obliging and he is extremely civil each is presented as an 'untouchable' object.  These objects are given a false sense of reverence as they are placed within a glass cabinet.  Each custom-made cabinet has a hinged door that is securely locked.  While the lock is accessible, the key remains invisible to the viewer as the cabinet becomes a tabernacle for personal treasures.

In the homage to love and for the rest of my life we see a softer approach to the weary love-lorne lady in question.  Zahra has cast and constructed personal fans from bronze, found bone and hair, cotton and glass.  A curious collection of materials that when combined create a declaration of everlasting love.  Other works centrally positioned within the exhibition space, such so sweet a power (blown glass, etched imagery) offer the audience an alternate view of the exhibition, capturing the reflections of the surrounding works.  These reflections are subtle, yet deliberately manifested by Zahra through object placement.

Amaranthus caudatus openly celebrates domestic skill and tradition, the hand-made and the natural.  Referencing nature directly is something that Zahra embraces.  Only natural products are used in telling her stories.  Human hair is dyed, plated, twisted, flowing, entwined, threaded and pinned to the wall, feathers found, constructed cast and filed down, large panels of natural fabrics are dipped, painted and stenciled with ducks blood in plant and bird motifs, resulting in a comprehensive collection of monochromatic objects.

A reverence has been achieved within this exhibition that quite literally took my breath away.  Zahra has meticulously created an new body of work for this project, each piece delicately conceived and orchestrated.  The enormity and extraordinary presence this exhibition possessed I believe places Louiseann Zahra as one of Australia’s most exciting ‘established’ makers.