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Rosemary Laing flight research #5, 1999, c-type photograph, 124 x 260 cm
Rosemary Laing, leak: eddie 2010, c-type photograph 124 x 271 cm
Rosemary Laing, effort & rush , 2016, c-type print, 110 x 203 cm

Rosemary Laing is internationally recognised as a leader in the field of concept-based photo media.

Laing has explored conceptually based photography and performance since the 1980s. Laing's work is all about dramatisation, using people, props and stunts to create performances in which the landscape symbolises something other than the "usual". From these elements Laing crafts beautiful, hyperreal images that seem impossible.

Rosemary Laing is justifiably esteemed within Australia and abroad for a career that has produced works of enormous appeal and cultural significance. Her international profile and reputation have become firmly established over the past decade with her inclusion in exhibitions such as the Busan Biennale, Korea (2004); Face Up: at Nationalgalerie im Hamburger Bahnhof, Berlin, Germany (2003); and her solo exhibition at the Domus Artium, Salamanca, Spain (2004) and Museum of Contemporary Art, Sydney (2005) as well as Venice Biennale (2007) and Sydney Biennale (2008).

 Laing’s photographic practice has always been project-based and produced as series,often investigating the intersection between the landscape and the complex cultural milieu of place. She works in collaboration with the community of the area as well as professionals from a range of disciplines, such as film stunt producers and carpet manufacturers, to create works of cinematic scale that combine panoramic vistas with paradoxical events. These investigations allow the artist to create photographs that are not digitally manipulated, while seeming to depict impossible events and occurrences. The series flight research, groundspeed, bulletproofglass, and one dozen unnaturaldisasters in the Australian landscape have created not only hauntingly exquisite aesthetic experiences but poetic and resonant relationships between people, place and history. Juxtapositions of incongruent elements set up productive tensions such as a bride floating above the landscape in flight research; the bloody impact of gunshots on an antique white wedding dress in Bulletproofglass; decorative patterns of carpet laid on the floor of a rainforest or dramatic coastal sites in Groundspeed; or mass-producedcontemporary furniture in Australia’s remote interior in One dozen unnatural disasters in the Australian landscape. The connections they inspire are poetic, metaphorical and allusive rather than literal. Laing’s works frequently appear to document a disaster or momentous event and pose potent commentaries on society and culture evoked through intense moments of drama or catastrophe. Her highly coded compositions do relate specifically to Australia’s colonial history, but the tension she employs between a shared physical reality and an imagined world transforms the works beyond national borders. As George Alexander, the writer and critic articulates, her “images remain in collective memory as ciphers for what it was like to be alive in the opening years of the 21st century.”

effort and rush 2015/2016
Reversal, inversion, rolling and spinning are recurring themes for Laing.  They also feature in her most recent works, the series 'effort and rush' (2015), which depict a turbulent, blurry ride through vegetation – shot in Lombok, Bali and Madagascar …

With the advent of digital technology, Laing has observed that there are ‘too many photographs’ out there in the world.  Much of modern life is experienced through a filter rather than a direct encounter, and this seems to be the issue that Laing’s latest works address.  Rushing through our environment, snapping photos as we go yet never really registering the visual experience, we become trapped as ‘tourists’ at both home and abroad.

Rachel Kent, Rosemary Laing, effort and rush, artasiapacific NOV/DEC 2015, issue 96

Selected Collections
Albury Regional Gallery, Albury
ARCO Foundation, Madrid, Spain
Art Gallery of New South Wales, Sydney, Australia
Art Gallery of South Australia, Adelaide, Australia
Art Gallery of Western Australia, Perth, Australia
Artbank, Sydney, Australia
Australian Capital Equity Collection, Perth, Australia
Bendigo Art Gallery, Victoria, Australia
Deutsche Bank, Sydney, Australia
DZ Bank, Germany
Domus Artium 2002, Salamanca, Spain
Esk Collection, Launceston, Tasmania, Australia
Foundation Belgacom, Brussels, Belgium
Gippsland Art Gallery, Victoria, Australia
Goldman Sachs, New York, USA
Goldman Sachs, Sydney, Australia
Griffith University Collection, Brisbane, Australia
Ipswich Regional Gallery, Ipswich, Australia
Modern Art Museum of Fort Worth, Texas, USA
Monash Gallery of Art, Wheelers Hill, Victoria, Australia
Monash University Collection, Melbourne, Australia
Museo Nacional Centro De Arte Reina Sofia, Madrid, Spain
Museum of Contemporary Art Cleveland (MOCA) Ohio, USA
Museum of Contemporary Art, Sydney, Australia
Museum Kunst Palast, Dusseldorf, Germany
National Gallery of Australia, Canberra, Australia
National Gallery of Victoria, Melbourne, Australia
Newcastle Regional Art Gallery, Newcastle, Australia
North Carolina Museum of Art, Raleigh, North Carolina, USA
Norton Family Foundation, Santa Monica, California, USA
Progressive Corporation Collection, Cleveland, Ohio, USA
Queensland Art Gallery, Brisbane, Australia
Refco Corporation, Chicago, USA
Stern Collection, New York, USA
Sydney Airport Corporation, Sydney, Australia
Townsville Regional Gallery, Townsville, Australia
University of Technology Collection, Sydney, Australia
University of Canberra Collection, Canberra, Australia
William Benton Museum of Art, University of Connecticut, USA
Yarra and Flinders Collection, Melbourne, Australia
21st Century Museum of Contemporary Art, Kanazawa, Japan

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Rosemary Laing

Rosemary Laing is internationally recognised as a leader in the field of concept-based photo media. Trained as a painter, Laing has explored conceptually based photography and performance since the 1980s. Laing's work is all about dramatisation, using people, props and stunts to create performances in which the landscape symbolises something other than the "usual". From these elements Laing crafts beautiful, hyperreal images that seem impossible. Rosemary Laing is justifiably...  [mehr]