Environmental Artists coming out of the Shadows

Vicki West's words made from dodda vine hover above the thousands of people whose focus is the main stage of the Marion Bay Falls Festival. This is art that embraces it's location and, if you are open to it, introduces interesting discussion and insight. The punters may not understand the meaning of the words lome merker (deep water) leaturi (wave) gunta (earth) and karnelare (echo), but this work can be appreciated as it is suspended against the backdrop of the hills, bush and coastline. There is a lovely layering and irony about these Aboriginal words hanging so comfortably above the land that was once inhabited by another and is now covered in a swarm of music lovers.

Vicki West's Water Waves Earth Echoes

Ralf Haertel's very tactile &
 luscious Earthpoles

Unlike the safety of a white walled gallery, the paddocks, waterways and trees of the Marion Bay property that accommodates the Falls Festival does not have the usual cues that guide the audience. Aboriginal artist, Vicki West is one of 12 environmental artists who produced artwork that sat in and around the 15 000 festival goers. Such festivals were once purely music, but in the last 5-10 years they have incorporated an arts program with performance, visual arts and installations.

The challenges in developing art that can be included in such events must be huge. The OH & S issues alone could stimey most, but then there is the added acknowledgement that the majority of individuals attending these events are tanked on alcohol and drugs. This represents a huge issue for artists wishing to engage with individuals within the crowd without encouraging the destruction of artworks. How do they do it and what is the intention? And how does environmental art fit into this context? It's one thing to develop an artwork that is bright, shiny and engaging, but does message laden and conscience driven art have a place at such events.

The Lull before the Storm

by Kylie Eastley

It's a breezy warm day when I arrive at Marion Bay to spend time with some of the artists connected with the Shadows program. For those heading along to experience the Marion Bay Falls Festival, art may be the last thing on their minds. But the impact of having art experiences included and sculptures installed throughout the property should not be underestimated.

Andy Vagg's Alumination

Shadows is part of a larger art program that includes a range of activities, mostly within The Village; a temporary enclosure that includes stages and tents that accommodate live music, circus, burlesque, massage and workshop venues.

It's where you might bump into Abigail, Mae and Ashley from Team Textiles or Tristan Stowards and his inflatable birthday cake trampoline. It's all part of the festival scene. But step outside The Village and something else is happening.

Surrounding the whole site are the environment sculptures of the Shadows group. It's a loose collective of environmental artists, many of whom are based in Northern Tasmania.

On this day, before the crowds arrive, I am lucky enough to see the works at their best. Without the distraction of tents, noise and people I can hear the tinkling of Andy Vagg's aluminium can flowers, titled Alumination. They are installed in random arrangements on the top of the poles that line the main walkway entrance to the festival. In the breeze the shiny metal flowers flutter and create a high pitched tinkling.

Teetering on top of tall poles positioned around The Village are Dan Kershaw's beautiful slick black organic sculptures and on the hill opposite the site is a collection of wood sculptures created by Martin Cole. With a sense of belonging, they rest into the paddock while all around the winds whip the yellowed grasses. There is a sense of peace and tranquillity. Shared meals with the artists and production crew, chats with healers and a stroll around the property. But it is momentary. The thousands are about to arrive.