Accessibility Tools

  • Content scaling 100%
  • Font size 100%
  • Line height 100%
  • Letter spacing 100%
Print this page

Mandy Martin – A Persistent Vision

A major retrospective at Geelong Gallery
by
ABR Arts 20 December 2022

Mandy Martin – A Persistent Vision

A major retrospective at Geelong Gallery
by
ABR Arts 20 December 2022
Mandy Martin, Unknown Industrial Prisoner, 1977 (photograph by Andrew Curtis)
Mandy Martin, Unknown Industrial Prisoner, 1977 (photograph by Andrew Curtis)

Depaysement:

  1. the feeling of not being at home, in a foreign or different place, whether a good or a bad feeling; change of scenery

  2. exile (obsolete)

Before environmental psychologist Glenn Albrecht gave us the language of solastalgia, Mandy Martin painted Depaysement (2003). Martin chose a different word that also explores a sort of longing for a home that was no longer there, a safe place that predated the environmental destruction that rendered home unrecognisable. Where solastalgia has international appeal, particularly to psychologists grappling with climate and environmental anxiety in our troubled times, Martin’s depaysement is all about colonised Australia. It is explicit about remembering the forgotten wars that mark history here. Her works explore the sublime, and the beautiful, and the wild including Country that has been neglected by people exiled at home, cut off from their homeland.

Beyond Eden and Depaysement (left to right) (courtesy of Geelong Gallery) (Left to right) Beyond Eden and Depaysement (courtesy of Libby Robin)

From the New Issue