Antinuclear

‘Like a radioactive cloud’: elegance and horror combine in powerful Yhonnie Scarce exhibition

Australia’s forgotten nuclear history and its dehumanisation of Aboriginal people come together in First Nations glass artist’s fiercely intellectual work.

Guardian, by Rosamund Brennan, 2 Apr 24

Yhonnie Scarce grew up in the grim aftermath of nuclear weapons testing in South Australia in the 50s and 60s, not far from her birthplace of Woomera. From the tender age of ten, she heard stories from elders about a cataclysmic roar, the sky turning red and a poisonous black mist hovering over the desert, like an apparition.

Born in 1973, the Kothakha and Nukunu glass artist has spent much of her career researching the British government’s testing of nuclear weapons in Maralinga and Emu Field, which she says “lit a fire in my heart that hasn’t been extinguished”.

The blasts wreaked havoc on generations of Aboriginal people, as well as military personnel and non-Aboriginal civilians – sending radioactive clouds thousands of kilometres, causing burns, blindness, birth defects and premature death.

When the toxic plumes reached Ceduna, where Scarce’s family lived, radioactive slag rained down from the sky, singeing their skin. Their concerns about the burns were rebuffed by doctors, who spuriously claimed there was a measles outbreak. But today, according to Scarce, cancer is prevalent in the town.

“I call this a mass genocide,” Scarce says. “I don’t know if we’ll ever find out how many Aboriginal people died over that 10-year period. But I can imagine it’s thousands.”………………………………………………………………………………………………..

The series is revelatory of Scarce’s practice: at once fiercely intellectual, deeply felt and elegant in its materiality. As a glass-blower, Scarce quite literally breathes life into her work, animating its delicate, molten surface, giving form to invisible pain and loss.

Glass holds special significance for Scarce: crafted from silica, or sand, it emerges from the very essence of the landscape. As Australia’s only professional Indigenous glass-blower, she veered away from working with traditional forms like decorative vases or bowls, instead drawing from what she calls the “bush supermarket”: depicting yams, plums and bush bananas to convey the history of her people.

Conceived by Wardandi and Badimaya curator Clothilde Bullen, the career-spanning exhibition at AGWA also features works which examine the dehumanisation and exploitation of Aboriginal people through displacement, indentured labour and institutionalised racism. One such work is In The Dead House, which features glass bush bananas laid out on a mortuary trolley, their bodies split wide open.

……………………………………………………………………………………………… In a seemingly fated moment, when those monstrous atomic bombs exploded at Maralinga almost 70 years ago, the red desert sand melted into thousands of green shards of glass that still litter the site today. Across Scarce’s 20-year career, it’s as if she’s been slowly collecting the disaster’s shattered remains and, piece by piece, crystallising a dark, hidden chapter of Australia’s history. Like a radioactive cloud, her astonishing body of work engulfs you in its sheer power and potency.

https://www.theguardian.com/artanddesign/2024/apr/02/yhonnie-scarce-light-of-day-art-gallery-western-australia

• Yhonnie Scarce: Light of Day is showing at the Art Gallery of Western Australia until 19 May 2024

April 2, 2024 - Posted by Christina Macpherson | art and culture, Western Australia