One
of the greatest things about an arts event like the Biennale is that as a
viewer, works reveal themselves as the venue is explored, quite often when you
least expect it. Before me, as I sat on the bench after meandering around on
the upper part of Cockatoo Island, the work of Scottish born artist Alec Finlay
was sparking my curiosity. His installation dotted around the grassy area in
front of me consisting of sound, sculpture, and books (they were above my head), was
inviting closer inspection, but I didn’t engage. Not at first.
