KYLIE BANYARD
’soft landing’
2 SEPT – 4 OCT, 2024
PUBLIC PROGRAMS
Thursday 5 September:
1pm - Slow Looking Workshop
5:30pm - Exhibition Launch
ACCESSIBILITY
Audio descriptions for the blind and low-vision community have been developed for soft landing by Sarah Empey and Anthia Balis, in collaboration with Kylie Banyard. From 5 September, these can be accessed via a series of QR codes located next to a number of the artworks in the exhibition. Verge encourages patrons to bring their own headphones.
Tactile floor markings are also provided in the gallery for visitors using white canes.
Click here to listen to/read the audio descriptions
Kylie Banyard, soft landing, 2024, installation view. Photography by Jessica Maurer.
ARTIST STATEMENT
You touch a blushing blossom’s petal
I sink into canvas soaked in plant colour
We hold soft Correa to our chests
soft landing is a love song dedication to my two sons. Made in response to the challenges of raising boys within a violent world in deep social and ecological crisis, the works in this exhibition represent an urgent desire to shower my children in flowers and a sense of radical hope for their futures. Marking the second in a series of exhibitions inspired by a walking ritual performed with my youngest son in which we document our affective encounters touching and talking to plants. Together we photograph each other’s careful touch, wilfully suspending the moment of contact as we talk about the way a plant feels and smells. This playful process holds a certain magic for us, drawn from the rhythms of everyday life, it brings us closer to together as we share in the experience of learning how to connect with this place we call home – as we try to make our way as settlers and visitors on the unceded Country of the Dja Dja Wurrung people.
Across the exhibition, the moment of touch is represented in paint and invited through the haptic quality of textiles and soft sculpture. Touching and talking to plants highlights what is at stake when living earthbound – like a plant. These works, and the collaborative processes involved in their making, question what careful time spent encountering and contemplating the lives of these enigmatic more-than-human keepers-of-place might teach us about other, more gentle ways of being in and of the world.[1]
[1] Clark, Martin. The Botanical Mind: Art, Mysticism and the Cosmic Tree, ‘On Being Sessile’, Camden Art Centre, 2021, p. 183.
Back: Kylie Banyard, Soft wall 1, 2024, acrylic on canvas, 250 cm x 300cm.
Front: Kylie Banyard, Soft power bench, 2024, cotton and applique canvas, plywood, besser bricks, dimensions variable.
Photography by Jessica Maurer.
EXHIBITION TEXT
Only a Gong Girl Knows the Feeling
By Tess Allas
Curator, writer and fellow ‘Gong Girl’
You can take the girl out of The ‘Gong, but you can’t take The ‘Gong out of the girl.
Growing up in Wollongong on the south coast of NSW, Kylie Banyard knows what it is like to be watched over by the maternal presence of the ancient rainforest that is the Illawarra escarpment. She is fully aware that the protection offered by this presence gave her the strongest sense of security.
Couple this sense of security with the ever-changing and always inviting shoreline of more than 20 beaches and just as many ocean pools then you will begin to understand that living along this narrow strip of land ‘between the mountains and the sea’ provided an insight into the power and the beauty of nature. Being ‘tucked in’ at night by the mountains and rocked to sleep by the sounds of the crashing waves is in Banyard’s DNA.
Left: Kylie Banyard, Hal with a face full of correa, 2024, acrylic and oil on hawthorn dyed canvas, 53 x 71cm.
Right: Kylie Banyard, Cinerea soft ground 1, 2024, acrylic on canvas, cinerea dyed canvas, cyanotype and recycled polyfill, 137 x 168cm.
Photography by Jessica Maurer.
Now living far from her coastal hometown and making a new life in country Victoria on the lands of the Dja Dja Wurrung people, Banyard is raising her young family with the urgent desire to provide the protection and security she grew up with. The ‘soft landing’ she wants for her children can be viewed through the lens of her own history - mermaiding in the salt waters off the Illawarra coastline and soft-footstepping through the rainforests of the escarpment.
She teaches her children of the magic and the power of the natural environment. Inviting them to touch, to feel, to smell all the small wonders of the bush in her adopted home hoping that they too have the same sense of protection that was instilled in her by her own elders.
Kylie Banyard, Hal with a face full of correa, 2024, acrylic and oil on hawthorn dyed canvas, 53 x 71cm. Image courtesy of the artist and Nicholas Thompson Gallery, Melbourne.
soft landing is a homage to an ancient land in all its forms. It shows us that protection can be the touch of a flower; the gentle stepping through the bush or a glimpse of sunlight on the face of a child.
Banyard finds the very essence of ‘home’ deep in the landscape. A landscape that will provide the softest of landings for her and her family. Wherever it is they land.
Left: Kylie Banyard, Soft wall 1, 2024, acrylic on canvas, 250 cm x 300cm.
Right: Kylie Banyard, Touching african daisy, 2024, acrylic and oil on turmeric dyed canvas, 137 x 168cm.
Photography by Jessica Maurer.
The works in this exhibition were made with the assistance of Saskia Van Pagee Anderson, and with the support of the La Trobe University Internal Research Grant Scheme.