![Tracing tides: a topographical investigation: [image #40], Table 24](https://ccca.art/wp-content/uploads/2024/04/osb044.jpg)
Tracing tides: a topographical investigation: [image #40], Table 24
Artist: Lyndal Osborne
Work ID: 51268
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
Oeuvre d'art par Lyndal Osborne
Surge
Artist: Lyndal Osborne
ID : 51229
Description:
Des mesures : 94 x 138 x 100 cm
Collection: the artist
Date de réalisation : 1995
Matériaux : art original: installation - (reeds, string, steel)
Collection virtuelle : Original CCCA
Surge
Artist: Lyndal Osborne
ID : 51228
Description:
Des mesures : 94 x 138 x 100 cm
Collection: the artist
Date de réalisation : 1995
Matériaux : art original: installation - (reeds, string, steel)
Collection virtuelle : Original CCCA
Tableaux for Transformation
Artist: Lyndal Osborne
ID : 51224
Description: Installation shown at the Kelowna Art Gallery, Jan. 11 - Feb. 24, 2002. Video recorded at the Kelowna Art Gallery, January 11, 2002. Camera and edit, Kyle L. Poirier; video digitized by Kyle Poirier.
Des mesures : 244 x 610 x 16 cm
Collection: the artist
Date de réalisation : 1998
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Tableaux for Transformation
Artist: Lyndal Osborne
ID : 51223
Description: Installation shown at the Kelowna Art Gallery, Jan. 11 - Feb. 24, 2002. Video recorded at the Kelowna Art Gallery, January 11, 2002. Camera and edit, Kyle L. Poirier; video digitized by Kyle Poirier.
Des mesures : 244 x 610 x 16 cm
Collection: the artist
Date de réalisation : 1998
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Silence of the ground: 2000
Artist: Lyndal Osborne
ID : 51227
Description:
Des mesures : 0.2436 x 0.4872 x 0.5568 m
Collection: the artist
Date de réalisation : 2000
Collection virtuelle : Original CCCA
Silence of the ground: 2000
Artist: Lyndal Osborne
ID : 51226
Description:
Des mesures : 0.2436 x 0.4872 x 0.5568 m
Collection: the artist
Date de réalisation : 2000
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #20], Table 7](https://ccca.art/wp-content/uploads/2024/04/osb024.jpg)
Tracing tides: a topographical investigation: [image #20], Table 7
Artist: Lyndal Osborne
ID : 51248
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #06], Table 2](https://ccca.art/wp-content/uploads/2024/04/osb010.jpg)
Tracing tides: a topographical investigation: [image #06], Table 2
Artist: Lyndal Osborne
ID : 51234
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #22], Table 8](https://ccca.art/wp-content/uploads/2024/04/osb026.jpg)
Tracing tides: a topographical investigation: [image #22], Table 8
Artist: Lyndal Osborne
ID : 51250
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
Tracing tides: a topographical investigation: [image #40], Table 24
Artist: Lyndal Osborne
ID : 51268
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #39], Table 23](https://ccca.art/wp-content/uploads/2024/04/osb043.jpg)
Tracing tides: a topographical investigation: [image #39], Table 23
Artist: Lyndal Osborne
ID : 51267
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #32], Table 17](https://ccca.art/wp-content/uploads/2024/04/osb036.jpg)
Tracing tides: a topographical investigation: [image #32], Table 17
Artist: Lyndal Osborne
ID : 51260
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #29], Table 14](https://ccca.art/wp-content/uploads/2024/04/osb033.jpg)
Tracing tides: a topographical investigation: [image #29], Table 14
Artist: Lyndal Osborne
ID : 51257
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #27], Table 12](https://ccca.art/wp-content/uploads/2024/04/osb031.jpg)
Tracing tides: a topographical investigation: [image #27], Table 12
Artist: Lyndal Osborne
ID : 51255
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #16], Table 5](https://ccca.art/wp-content/uploads/2024/04/osb020.jpg)
Tracing tides: a topographical investigation: [image #16], Table 5
Artist: Lyndal Osborne
ID : 51244
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #26], Table 11](https://ccca.art/wp-content/uploads/2024/04/osb030.jpg)
Tracing tides: a topographical investigation: [image #26], Table 11
Artist: Lyndal Osborne
ID : 51254
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #07], Table 2](https://ccca.art/wp-content/uploads/2024/04/osb011.jpg)
Tracing tides: a topographical investigation: [image #07], Table 2
Artist: Lyndal Osborne
ID : 51235
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #31], Table 16](https://ccca.art/wp-content/uploads/2024/04/osb035.jpg)
Tracing tides: a topographical investigation: [image #31], Table 16
Artist: Lyndal Osborne
ID : 51259
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #09], Table 2](https://ccca.art/wp-content/uploads/2024/04/osb013.jpg)
Tracing tides: a topographical investigation: [image #09], Table 2
Artist: Lyndal Osborne
ID : 51237
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #21], Table 8](https://ccca.art/wp-content/uploads/2024/04/osb025-1.jpg)
Tracing tides: a topographical investigation: [image #21], Table 8
Artist: Lyndal Osborne
ID : 51249
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #04], Table 1](https://ccca.art/wp-content/uploads/2024/04/osb008.jpg)
Tracing tides: a topographical investigation: [image #04], Table 1
Artist: Lyndal Osborne
ID : 51232
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #28], Table 13](https://ccca.art/wp-content/uploads/2024/04/osb032.jpg)
Tracing tides: a topographical investigation: [image #28], Table 13
Artist: Lyndal Osborne
ID : 51256
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #23], Table 9](https://ccca.art/wp-content/uploads/2024/04/osb027.jpg)
Tracing tides: a topographical investigation: [image #23], Table 9
Artist: Lyndal Osborne
ID : 51251
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #18], Table 6](https://ccca.art/wp-content/uploads/2024/04/osb022.jpg)
Tracing tides: a topographical investigation: [image #18], Table 6
Artist: Lyndal Osborne
ID : 51246
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #05], Table 1](https://ccca.art/wp-content/uploads/2024/04/osb009.jpg)
Tracing tides: a topographical investigation: [image #05], Table 1
Artist: Lyndal Osborne
ID : 51233
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #30], Table 15](https://ccca.art/wp-content/uploads/2024/04/osb034.jpg)
Tracing tides: a topographical investigation: [image #30], Table 15
Artist: Lyndal Osborne
ID : 51258
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #13], Table 4](https://ccca.art/wp-content/uploads/2024/04/osb017.jpg)
Tracing tides: a topographical investigation: [image #13], Table 4
Artist: Lyndal Osborne
ID : 51241
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #11], Table 3](https://ccca.art/wp-content/uploads/2024/04/osb015.jpg)
Tracing tides: a topographical investigation: [image #11], Table 3
Artist: Lyndal Osborne
ID : 51239
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #08], Table 2](https://ccca.art/wp-content/uploads/2024/04/osb012.jpg)
Tracing tides: a topographical investigation: [image #08], Table 2
Artist: Lyndal Osborne
ID : 51236
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #03], Tables 1-2](https://ccca.art/wp-content/uploads/2024/04/osb007.jpg)
Tracing tides: a topographical investigation: [image #03], Tables 1-2
Artist: Lyndal Osborne
ID : 51231
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions variable: 0.44196 x 2.121408 x 1.591056 m at the Edmonton Art Gallery exhibition. Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #10], Table 3](https://ccca.art/wp-content/uploads/2024/04/osb014.jpg)
Tracing tides: a topographical investigation: [image #10], Table 3
Artist: Lyndal Osborne
ID : 51238
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #35], Table 19](https://ccca.art/wp-content/uploads/2024/04/osb039.jpg)
Tracing tides: a topographical investigation: [image #35], Table 19
Artist: Lyndal Osborne
ID : 51263
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #34], Table 18](https://ccca.art/wp-content/uploads/2024/04/osb038.jpg)
Tracing tides: a topographical investigation: [image #34], Table 18
Artist: Lyndal Osborne
ID : 51262
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #33], Table 18](https://ccca.art/wp-content/uploads/2024/04/osb037.jpg)
Tracing tides: a topographical investigation: [image #33], Table 18
Artist: Lyndal Osborne
ID : 51261
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #24], Table 10](https://ccca.art/wp-content/uploads/2024/04/osb028.jpg)
Tracing tides: a topographical investigation: [image #24], Table 10
Artist: Lyndal Osborne
ID : 51252
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #15], Table 5](https://ccca.art/wp-content/uploads/2024/04/osb019.jpg)
Tracing tides: a topographical investigation: [image #15], Table 5
Artist: Lyndal Osborne
ID : 51243
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #01]](https://ccca.art/wp-content/uploads/2024/04/osb002.jpg)
Tracing tides: a topographical investigation: [image #01]
Artist: Lyndal Osborne
ID : 51225
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions variable: 0.44196 x 2.121408 x 1.591056 m at the Edmonton Art Gallery exhibition. Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #19], Table 7](https://ccca.art/wp-content/uploads/2024/04/osb023.jpg)
Tracing tides: a topographical investigation: [image #19], Table 7
Artist: Lyndal Osborne
ID : 51247
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #25], Table 10](https://ccca.art/wp-content/uploads/2024/04/osb029.jpg)
Tracing tides: a topographical investigation: [image #25], Table 10
Artist: Lyndal Osborne
ID : 51253
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #37], Table 21](https://ccca.art/wp-content/uploads/2024/04/osb041.jpg)
Tracing tides: a topographical investigation: [image #37], Table 21
Artist: Lyndal Osborne
ID : 51265
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #02]](https://ccca.art/wp-content/uploads/2024/04/osb006.jpg)
Tracing tides: a topographical investigation: [image #02]
Artist: Lyndal Osborne
ID : 51230
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions variable: 0.44196 x 2.121408 x 1.591056 m at the Edmonton Art Gallery exhibition. Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #38], Table 22](https://ccca.art/wp-content/uploads/2024/04/osb042.jpg)
Tracing tides: a topographical investigation: [image #38], Table 22
Artist: Lyndal Osborne
ID : 51266
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #17], Table 6](https://ccca.art/wp-content/uploads/2024/04/osb021.jpg)
Tracing tides: a topographical investigation: [image #17], Table 6
Artist: Lyndal Osborne
ID : 51245
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #14], Table](https://ccca.art/wp-content/uploads/2024/04/osb018.jpg)
Tracing tides: a topographical investigation: [image #14], Table
Artist: Lyndal Osborne
ID : 51242
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #12], Table 4](https://ccca.art/wp-content/uploads/2024/04/osb016.jpg)
Tracing tides: a topographical investigation: [image #12], Table 4
Artist: Lyndal Osborne
ID : 51240
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
![Tracing tides: a topographical investigation: [image #36], Table 20](https://ccca.art/wp-content/uploads/2024/04/osb040.jpg)
Tracing tides: a topographical investigation: [image #36], Table 20
Artist: Lyndal Osborne
ID : 51264
Description: This work represents a topographical view of the landscape I encountered in two nature preserves on opposite sides of the world. The Murramarang National Park in New South Wales, Australia, and the Gros Morne National Park in Newfoundland are both coastal areas, positioned on the Pacific and Atlantic oceans.
The rocky outcrops, sand dunes, river estuaries, rock pools, sandy and pebbly beaches were the focus of my investigation. At each low tide I would examine the high-water tide lines and collect various debris as it was washed ashore. Some of the material was natural to the locale but often it was peppered with man-made detritus. These had their own particular poignancy in Newfoundland with the assortment of lobster bands, wood crab traps, shotgun cartridges and discarded plastic, all reminders of a decimated fishing industry.
The collected material was used to create both the landscape topographies and the hand manipulated balls which form the second layer on each table. Many of the balls were made on the site in an instinctive response to the materials themselves. I may have been influenced by the Australian aboriginals who I observed frequently in my childhood as they sat on the ground and fashioned small objects. While they did this they told stories and laughed. I was also inspired by the cultural tradition of the Maasai. Hair balls are coughed up by the lion in its death spasm. To celebrate their killing, the Maasai keep these as highly esteemed tokens of courage. The ball belongs to the warrior who speared the lion and is kept and passed on from generation to generation. I wanted the balls to symbolize my own intervention and cultural references.
--Lyndal Osborne
Original photograph taken from the exhibition at the Edmonton Art Gallery, June 22 - October 28, 2001. Photographer: Hutch Hutchinson, Calgary, Alberta. Also shown at the Kelowna Art Gallery, January 11 - February 24, 2002.
Des mesures : Dimensions of the entire installation, Edmonton Art Gallery: 0.44196 x 2.121408 x 1.591056 m Dimensions of individual tables: 5.30352 x 1.944624 x 1.944624 cm
Collection: the artist
Date de réalisation : 2001
Matériaux :
Collection virtuelle : Original CCCA
