220:, Gill produced three unique works for the festival. De Zegher described the inspiration for the exhibition as "a space of negotiation between the small and the global, between nature and industry, as it reveals an understanding of the interconnectedness of all in a world in flux". One displayed art piece consisted of Gill's traditional style of carefully collecting specific words to display them in a massive collage spanning twelve white panels. Another was a series of large cibachrome photographs taken of an open, abandoned mine system at dusk and dawn.
182:
empty spaces she deliberately places within many of her photographs and drawings manage to capture the dual fascination and apprehension that humanity holds towards the unknown. Connected with this, Gill tackles complex topics such as cultural exchange, globalization, the interactions of culture and nature, and the transformation of knowledge in a postcolonial society, demonstrating the impacts of those inherent feelings of fascination and apprehension on indigenous cultures and the environment as a whole.
124:(1999–2000) features hundreds of items collected from the side of the road, including flattened plastic and discarded rubbish. In many of these works, audiences are invited to play with and reposition the items, leaving interpretation of meaning to the viewer. In addition to this, Gill often allows these subjects of her art to be openly exposed to the degrading forces of the environment, demonstrating the inherently ephemeral nature of man-made objects.
51:
two children with. In 1987, the family settled in
Australia, where she would attend the South Australian School of Art to pursue her interest in artistic expression. However, a few months into her degree, Gill dropped out of her courses, both as a result of her pressing responsibilities to help raise two young children and her increasing dissatisfaction with the lack of novelty in her studies.
131:, 2007–2009, spans 90 photographs taken in an abandoned and decaying housing development in Malaysia. The estate, once the fringe of Port Dickson, had been ransacked for anything of value and left to the elements. The name of the series alludes to "the ruins of a civilization that had been suddenly curtailed", that of the ancient city of
100:, saying "mine is not a representative voice—in fact, it's entirely the opposite of that possibility … Representation is a very strange notion." Her work has been said to occupy a space of transition and compromise, taking small mementos and fleeting moments of everyday life to construct a sense of belonging.
50:
Although she was born in
Singapore, throughout her childhood her family moved to Malaysia, India, and the United Kingdom, the latter being where she remained throughout her young adulthood. There, she met her future husband, a social anthropologist named Souchou Yao, with whom she would go on to have
172:
sees in these works a continual process of negotiation with words, a desire to reduce their impact and to make them physical and tactile: "of course the real keepers and foot soldiers in this world of words are books, and Gill has employed an arsenal of them for her quietly revolutionary purposes".
223:
Her most famous work produced for the event was the unconventional use of the
Australian Pavilion itself. Challenging her audience to see her work as impermanent and transitory, Gill removed sections of the roof of the Australian pavilion, "allowing each moment of the six month exhibition to be a
181:
As a consequence of her experiences with travel throughout her life, Gill's art is inherently influenced by the landscapes, cultures, and communities that she has encountered, utilizing these experiences to incorporate evocative imagery and the associated emotion into her art. In particular, the
108:
headdress made from dried chilies, was made from Gill's homegrown chilies while she was completing projects from a 1950s boy scout manual with her son. This gentle incursion of the everyday into Gill's art is acknowledged in the foreword to the publication accompanying Gill's exhibition at the
66:
to showcase her work at the quinquennial
Documenta, one of the most well-known art shows in Europe. A year later, she was selected to represent Australia in the 55th Venice Biennale. Since these events, Gill's art has been exhibited in many cities worldwide, such as the
224:
unique snapshot." This exposure of the work changed it over time, both the beach house and the art stored within it slowly being altered by the surrounding environment, emphasizing nature's ability to reclaim structures and objects constructed by humans.
95:
Gill's work is said to embody a sense of "in-between-ness", with pieces inspired by her various homes and the influence of place. She acknowledged the irony this brought to her 2013 feature in the
Australian pavilion at the
158:(2008–09), again invited visitors to touch and play with the volumes, now turned into boules-style balls. This preoccupation with words and the dismantling of the constraints they place on us is revisited in
26:-born artist who specializes in sculpture, photography, drawing, printmaking, writing, and publishing. Throughout her career, Gill has presented her art at several significant events, including Germany's
200:
from the "Like Leaves" (2015) series was the most recent addition to the show. Leaves of the sea apple tree were pinned to the wall in a grid format, each cropped into a 6 centimeter wide square.
714:
150:(2008) is a sparse publication full of images of strings of beads. On inspection, the reader discovers each bead is made from tightly wound strips of paper, cut from canonical texts like
196:
marked a return from
Malaysia to Singapore. The pieces featured in the exhibition dealt with subjects including migration, the passage of time, life, death, and the decay of things.
216:’s Australian Pavilion, which had represented Australia at the Venice Biennale since 1988, with the structure scheduled to be removed the following December. Working with curator
1074:
54:
Despite these setbacks, Gill's art continued to gain respect and renown within the contemporary art community, with early collections of photographs such as
1266:
1261:
892:
628:
1226:
105:
341:
331:
1251:
245:
110:
691:
1256:
267:
1246:
359:
257:
1231:
999:
582:
661:
419:
233:
140:
72:
154:'s 'Four Essays On Philosophy' and more mundane books, such as a tome on highland dress. The exhibition variation of
1195:
495:
290:
Gill is represented by Tracy
Williams Ltd in New York City, and has held four solo exhibitions in the gallery:
753:
114:
1021:
1236:
263:
1118:
139:(2000) examines deserted and ruined architecture across the Malaysian peninsula following the country's
353:
1271:
1241:
409:
239:
163:
68:
1096:
528:
1170:
217:
39:
817:
507:
485:
117:
characterizes her as "an artist whose approach is rigorous yet sensual, conceptual yet tactile."
836:
475:
445:
35:
809:
465:
84:
76:
120:
Gill is a systematic collector, "especially of books as objects of reverence and dispute".
455:
427:
97:
31:
955:
610:
1148:
168:
1220:
393:
208:
Gill represented
Australia in the 2013 Venice Biennale, with the exhibition entitled
715:"Artists Simryn Gill becomes Australia's accidental ambassador at Venice Biennale"
62:
in particular receiving notable recognition. In 2007 and 2012, she was invited to
34:, and is one of Australia's most famous contemporary artists. Gill lives between
347:
213:
151:
977:
146:
Books and words themselves are recurring themes and mediums in Gill's work.
27:
23:
1046:
933:
504:
Living in the
Material World, National Arts Centre, Tokyo, Japan (2007)
821:
132:
63:
862:
813:
1075:"Simryn Gill to represent Australia at the Venice Biennale 2013"
251:
1077:(Press release). Australia Council for the Arts. May 23, 2012
800:
Chua, Kevin (2002). "Simryn Gill and
Migration's Capital".
735:
Storer, Russell; Morgan, Jessica; Taussig, Michael (2008).
552:
662:"Against Blankness – The Inhabiting Spaces of Simryn Gill"
156:
Pearls, 9 Volumes of the Collected Works of Mahatma Gandhi
79:. In 2015, Gill hosted her first major solo exhibition,
692:"See Simryn Gill's Venice Biennale Australia Pavilion"
390:
Apparitions: Frottages and Rubbings from 1860 to Now
1000:"A Small Town at the Turn of the Century 1999–2000"
406:
Sites of Reason: A Selection of Recent Acquisitions
325:, Australian Pavilion, 55th Venice Biennale (2013)
319:NTU Centre for Contemporary Art, Singapore (2015)
162:(2011–2012), now housed in the collection of the
212:. Her exhibit replaced that of famous architect
386:, Solomon R. Guggenheim Museum, New York (2015)
384:Storylines: Contemporary Art at the Guggenheim
921:. Australia Council for the Arts. p. 29.
127:Her photographic works often come in series.
8:
863:"Review, 'Hugging the Shore' (Simryn Gill)"
529:"Simryn Gill - Biography | Richard Saltoun"
1127:NTU Centre for Contemporary Art Singapore
402:, Octavia Art Gallery, New Orleans (2014)
520:
83:, at the Centre of Contemporary Art in
1151:. Museum of Contemporary Art Australia
886:
884:
882:
880:
795:
793:
613:. The Solomon R Guggenheim Foundation.
1069:
1067:
1041:
1039:
936:. The Solomon R Guggenheim Foundation
756:My Own Private Angkor, #51, 2007–2009
748:
746:
622:
620:
438:, Jhaveri Contemporary, Mumbai (2013)
313:, Jhaveri Contemporary, Mumbai (2015)
7:
980:. San Francisco Museum of Modern Art
891:Fitzgerald, Michael (May 25, 2013).
824:– via Academic Search Premier.
730:
728:
685:
683:
655:
653:
651:
649:
627:Fitzgerald, Michael (May 25, 2013).
605:
603:
576:
574:
572:
570:
568:
501:documenta 12, Kassel, Germany (2007)
332:Centre for Contemporary Photography
135:in Cambodia. Similarly, the series
1129:. Nanyang Technological University
690:Forrest, Nicholas (May 31, 2013).
660:Fitzgerald, Michael (April 2013).
246:San Francisco Museum of Modern Art
14:
1267:21st-century women photographers
1262:20th-century women photographers
1024:. Art Gallery of New South Wales
581:Yusof, Helmi (March 27, 2015).
113:, Sydney, in 2008–09. Director
713:Hauser, Kitty (May 25, 2013).
360:Art Gallery of New South Wales
296:Simryn Gill | Nicole Cherubini
258:Art Gallery of New South Wales
1:
1227:Malaysian women photographers
482:Revolutions – Forms That Turn
192:Gill's first solo exhibition
420:Solomon R. Guggenheim Museum
234:Solomon R. Guggenheim Museum
1288:
958:. The Museum of Modern Art
694:. Australia: BlouinArtinfo
583:"In Search of a Lost Time"
458:, Bern, Switzerland (2010)
448:), Istanbul, Turkey (2011)
342:Museum of Contemporary Art
111:Museum of Contemporary Art
1252:Malaysian women sculptors
1097:"Simryn Gill – Press Kit"
934:"Simryn Gill – Full Moon"
897:The Sydney Morning Herald
633:The Sydney Morning Herald
462:Provisions for the Future
496:Campbelltown Arts Centre
472:Transmission Interrupted
311:Simryn Gill: Stormy Days
1257:Malaysian women artists
919:Here art grows on trees
739:. Koln. pp. 7, 41.
323:Here art grows on trees
210:Here Art Grows on Trees
115:Elizabeth Ann Macgregor
1022:"Works by Simryn Gill"
533:www.richardsaltoun.com
338:Simryn Gill: Gathering
264:Queensland Art Gallery
160:Where to Draw the Line
40:Port Dickson, Malaysia
1247:People from Singapore
1200:Universes in Universe
1099:. Tracy Williams, Ltd
917:Gill, Simryn (2013).
835:Vali, Mutaza (2021).
782:Gill, Simryn (2008).
498:, Campbelltown (2007)
268:Gallery of Modern Art
129:My Own Private Angkor
46:Early life and career
1232:Contemporary artists
410:Museum of Modern Art
396:, Los Angeles (2015)
329:Simryn Gill: Inland,
240:Museum of Modern Art
204:55th Venice Biennale
164:Museum of Modern Art
69:Museum of Modern Art
478:, Oxford, UK (2010)
436:Considering Collage
430:of Contemporary Art
400:Alluvial Constructs
218:Catherine de Zegher
893:"Raising the Roof"
629:"Raising the Roof"
587:The Business Times
508:Singapore Biennale
486:Biennale of Sydney
334:, Melbourne (2009)
317:Hugging the Shore,
16:Singaporean artist
1121:Hugging the Shore
492:News From Islands
476:Modern Art Oxford
446:Istanbul Biennial
422:, New York (2013)
412:, New York (2014)
367:Group exhibitions
194:Hugging the Shore
187:Hugging the Shore
81:Hugging the Shore
36:Sydney, Australia
30:art show and the
22:(born 1959) is a
1279:
1211:
1210:
1208:
1206:
1192:
1186:
1185:
1183:
1181:
1167:
1161:
1160:
1158:
1156:
1145:
1139:
1138:
1136:
1134:
1115:
1109:
1108:
1106:
1104:
1093:
1087:
1086:
1084:
1082:
1071:
1062:
1061:
1059:
1057:
1043:
1034:
1033:
1031:
1029:
1018:
1012:
1011:
1009:
1007:
996:
990:
989:
987:
985:
974:
968:
967:
965:
963:
952:
946:
945:
943:
941:
929:
923:
922:
914:
908:
907:
905:
903:
888:
875:
874:
858:
852:
851:
849:
847:
832:
826:
825:
797:
788:
787:
786:. Raking Leaves.
779:
773:
772:
770:
768:
750:
741:
740:
732:
723:
722:
710:
704:
703:
701:
699:
687:
678:
677:
675:
673:
657:
644:
643:
641:
639:
624:
615:
614:
607:
598:
597:
595:
593:
578:
563:
562:
560:
559:
549:
543:
542:
540:
539:
525:
466:Sharjah Biennial
379:
378:
374:
354:Shiseido Gallery
300:Holding Patterns
287:
286:
282:
275:Solo exhibitions
141:economic decline
85:Gillman Barracks
1287:
1286:
1282:
1281:
1280:
1278:
1277:
1276:
1217:
1216:
1215:
1214:
1204:
1202:
1194:
1193:
1189:
1179:
1177:
1169:
1168:
1164:
1154:
1152:
1147:
1146:
1142:
1132:
1130:
1117:
1116:
1112:
1102:
1100:
1095:
1094:
1090:
1080:
1078:
1073:
1072:
1065:
1055:
1053:
1045:
1044:
1037:
1027:
1025:
1020:
1019:
1015:
1005:
1003:
998:
997:
993:
983:
981:
976:
975:
971:
961:
959:
954:
953:
949:
939:
937:
931:
930:
926:
916:
915:
911:
901:
899:
890:
889:
878:
860:
859:
855:
845:
843:
834:
833:
829:
799:
798:
791:
781:
780:
776:
766:
764:
754:"Simryn Gill –
752:
751:
744:
734:
733:
726:
712:
711:
707:
697:
695:
689:
688:
681:
671:
669:
659:
658:
647:
637:
635:
626:
625:
618:
609:
608:
601:
591:
589:
580:
579:
566:
557:
555:
551:
550:
546:
537:
535:
527:
526:
522:
517:
456:Kunsthalle Bern
432:, Moscow (2013)
428:Moscow Biennale
380:
376:
372:
370:
369:
362:, Sydney (2002)
350:, London (2006)
344:, Sydney (2008)
288:
284:
280:
278:
277:
248:, San Francisco
242:, New York City
236:, New York City
230:
206:
190:
179:
106:Native American
98:Venice Biennale
93:
91:Style and works
64:Kassel, Germany
48:
32:Venice Biennale
17:
12:
11:
5:
1285:
1283:
1275:
1274:
1269:
1264:
1259:
1254:
1249:
1244:
1239:
1234:
1229:
1219:
1218:
1213:
1212:
1187:
1175:dOCUMENTA (13)
1162:
1140:
1119:"Simryn Gill:
1110:
1088:
1063:
1035:
1013:
991:
969:
947:
924:
909:
876:
867:ArtAsiaPacific
853:
841:ArtAsiaPacific
837:"Perspectives"
827:
814:10.2307/778147
789:
774:
742:
724:
719:The Australian
705:
679:
666:ArtAsiaPacific
645:
616:
599:
564:
553:"Stolon Press"
544:
519:
518:
516:
513:
512:
511:
505:
502:
499:
489:
479:
469:
459:
449:
439:
433:
423:
416:Lasting Images
413:
403:
397:
387:
368:
365:
364:
363:
357:
356:, Tokyo (2004)
351:
345:
335:
326:
320:
314:
276:
273:
272:
271:
261:
255:
249:
243:
237:
229:
226:
205:
202:
189:
184:
178:
175:
169:ArtAsiaPacific
137:Standing Still
92:
89:
47:
44:
15:
13:
10:
9:
6:
4:
3:
2:
1284:
1273:
1270:
1268:
1265:
1263:
1260:
1258:
1255:
1253:
1250:
1248:
1245:
1243:
1240:
1238:
1237:Living people
1235:
1233:
1230:
1228:
1225:
1224:
1222:
1201:
1197:
1196:"Simryn Gill"
1191:
1188:
1176:
1172:
1171:"Simryn Gill"
1166:
1163:
1150:
1149:"Simryn Gill"
1144:
1141:
1128:
1124:
1122:
1114:
1111:
1098:
1092:
1089:
1076:
1070:
1068:
1064:
1052:
1048:
1047:"Simryn Gill"
1042:
1040:
1036:
1023:
1017:
1014:
1001:
995:
992:
979:
978:"Simryn Gill"
973:
970:
957:
956:"Simryn Gill"
951:
948:
935:
928:
925:
920:
913:
910:
898:
894:
887:
885:
883:
881:
877:
872:
868:
864:
857:
854:
842:
838:
831:
828:
823:
819:
815:
811:
807:
803:
796:
794:
790:
785:
778:
775:
763:
759:
757:
749:
747:
743:
738:
731:
729:
725:
720:
716:
709:
706:
693:
686:
684:
680:
668:. No. 82
667:
663:
656:
654:
652:
650:
646:
634:
630:
623:
621:
617:
612:
611:"Simryn Gill"
606:
604:
600:
588:
584:
577:
575:
573:
571:
569:
565:
554:
548:
545:
534:
530:
524:
521:
514:
509:
506:
503:
500:
497:
493:
490:
487:
483:
480:
477:
473:
470:
467:
463:
460:
457:
453:
450:
447:
443:
440:
437:
434:
431:
429:
424:
421:
417:
414:
411:
407:
404:
401:
398:
395:
394:Hammer Museum
391:
388:
385:
382:
381:
375:
366:
361:
358:
355:
352:
349:
346:
343:
339:
336:
333:
330:
327:
324:
321:
318:
315:
312:
309:
308:
307:
305:
301:
297:
293:
283:
274:
269:
265:
262:
259:
256:
253:
250:
247:
244:
241:
238:
235:
232:
231:
227:
225:
221:
219:
215:
211:
203:
201:
199:
195:
188:
185:
183:
176:
174:
171:
170:
165:
161:
157:
153:
149:
144:
142:
138:
134:
130:
125:
123:
118:
116:
112:
107:
103:
99:
90:
88:
87:, Singapore.
86:
82:
78:
74:
70:
65:
61:
57:
52:
45:
43:
41:
37:
33:
29:
25:
21:
1203:. Retrieved
1199:
1190:
1178:. Retrieved
1174:
1165:
1153:. Retrieved
1143:
1131:. Retrieved
1126:
1120:
1113:
1101:. Retrieved
1091:
1079:. Retrieved
1054:. Retrieved
1050:
1026:. Retrieved
1016:
1004:. Retrieved
994:
982:. Retrieved
972:
960:. Retrieved
950:
938:. Retrieved
927:
918:
912:
900:. Retrieved
896:
870:
866:
856:
844:. Retrieved
840:
830:
805:
801:
783:
777:
765:. Retrieved
761:
755:
736:
718:
708:
696:. Retrieved
670:. Retrieved
665:
636:. Retrieved
632:
590:. Retrieved
586:
556:. Retrieved
547:
536:. Retrieved
532:
523:
491:
481:
471:
468:, UAE (2010)
461:
451:
441:
435:
425:
415:
405:
399:
389:
383:
337:
328:
322:
316:
310:
303:
299:
295:
291:
289:
222:
209:
207:
197:
193:
191:
186:
180:
167:
159:
155:
147:
145:
136:
128:
126:
121:
119:
101:
94:
80:
59:
55:
53:
49:
19:
18:
1272:Printmakers
1242:1959 births
932:Yap, June.
861:Ho, Louis.
808:(4): 4–21.
802:Art Journal
737:Simryn Gill
348:Tate Modern
302:(2010) and
228:Collections
198:Like Leaves
20:Simryn Gill
1221:Categories
558:2021-06-20
538:2024-04-30
515:References
270:, Brisbane
214:Philip Cox
177:Influences
104:(1992), a
75:, both in
73:Guggenheim
902:April 20,
846:April 20,
638:April 17,
592:April 17,
304:Interiors
28:Documenta
24:Singapore
1205:July 28,
1180:July 28,
1155:July 13,
1133:July 28,
1028:July 28,
1006:July 28,
984:July 28,
962:July 28,
940:July 28,
767:July 11,
698:July 11,
672:July 11,
442:Untitled
306:(2009).
298:(2012),
294:(2014),
260:, Sydney
254:, London
122:Roadkill
77:New York
71:and the
56:May 2006
1103:July 6,
1081:July 6,
1056:July 6,
452:Animism
102:Red Hot
1002:. Tate
822:778147
820:
784:Pearls
510:(2006)
488:(2008)
444:(12th
371:": -->
279:": -->
266:&
148:Pearls
133:Angkor
38:, and
1051:Artsy
818:JSTOR
762:Artsy
60:Dalam
1207:2016
1182:2016
1157:2016
1135:2016
1105:2016
1083:2016
1058:2016
1030:2016
1008:2016
986:2016
964:2016
942:2016
904:2021
848:2021
769:2016
700:2016
674:2016
640:2021
594:2021
426:5th
373:edit
292:Blue
281:edit
252:Tate
58:and
810:doi
152:Mao
1223::
1198:.
1173:.
1125:.
1066:^
1049:.
1038:^
895:.
879:^
871:94
869:.
865:.
839:.
816:.
806:61
804:.
792:^
760:.
745:^
727:^
717:.
682:^
664:.
648:^
631:.
619:^
602:^
585:.
567:^
531:.
494:,
484:,
474:,
464:,
454:,
418:,
408:,
392:,
340:,
166:.
143:.
42:.
1209:.
1184:.
1159:.
1137:.
1123:"
1107:.
1085:.
1060:.
1032:.
1010:.
988:.
966:.
944:.
906:.
873:.
850:.
812::
771:.
758:"
721:.
702:.
676:.
642:.
596:.
561:.
541:.
377:]
285:]
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.