At the core of Fiona Hall’s work is the often problematic intersection between nature and human activity. In recent years, her work has reflected an increasing concern at the devastating
impact human beings are having on the world. With imagination, humour and meticulous
attention to detail, Hall finds startling and evocative new uses for ordinary objects such as sardine tins, videotapes, Coca Cola cans and bank notes. In Tender, shredded US dollars are reformed into a series of suspended bird’s nests in a play on words that reflects the source of the raw materials as well as highlighting the vulnerability of the natural world in the face of commercial development.
Rosalie Gascoigne's work consists of a distinctive and poetic assemblages of found objects, such as wood, corrugated iron and road signs, and cut up and rearranged faded, naive lettering to create abstract yet evocative grids of letters and word fragments. She worked exclusively with found objects, discarded or obsolete. Her art includes installations in bone, rusty farm iron, twigs, grasses or feathers, assemblages in old bee boxes, panels made from sawn up discarded soft-drink crates and road signs or old linoleum. Her initial skills in arranging were developed by years of training in the classical art of flower arranging (the modern Sogetsu school of Ikebana).
Her mature Ikebana works in the 1960s and early 1970s included arrangements and assemblages constructed from grasses, iron, driftwood and bleached bones. It was during Rosalie's phase of producing iron assemblages that she made the transition from Ikebana to producing art (or sculpture) as such.
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