For almost four decades, Rosslynd Piggott has maintained a prolific practice that encompasses – and often combines – painting, drawing, photography, hand-blown glass and installation. Enlisting a sophisticated materiality, technique and sense of colour, Piggott recalls the fragile, ephemeral qualities observable in the natural world to signal the inner realm of emotion, memory and imagination. Slow and deliberate, her work makes palpable that which lies just beyond our tangible reality.
Selected solo exhibitions: I sense you, but I cannot see you, National Gallery of Victoria, Melbourne, 2019; Gardenia, gardenia and vapour window, Sutton Gallery, Melbourne, 2019; Selected Works: 19876 – 1997, Sutton Projects, Melbourne, 2019; Mirror Shift (doubled), Sutton Gallery, Melbourne, 2017; Garden Fracture/Mirror shift: part 2, Museo del Vetro, Murano, Italy, 2017; Garden Fracture: Mirror in vapour, Venice Art Factory, Venice, 2016; Last light/in vapour, Sutton Gallery, Melbourne, 2015; Scent notations + ether and collapse: part 2, Sutton Gallery, Melbourne, 2013; Murmur, The Johnston Collection, Melbourne, 2013; Scent Notations + Ether and Collapse, William Wright Artists Projects, Sydney, 2012; Dividing Infinity: A Room for Painting, Tarrawarra Museum of Art, Healesville, 2011; Measuring Night – new paintings and mirrors, Sutton Gallery, Melbourne, 2010; Several types of flight – letters to the sky, Gallery 360 Degrees, Tokyo, 2009; Extract: in 3 parts, Ballarat Fine Art Gallery, Ballarat, 2009; Circling Ether, Sutton Gallery, Melbourne, 2008; Extract: in 3 parts, ACCA, Melbourne, 2008; Storm 2 Tracing Sky and Island, EbisuSpace, Tokyo, 2006; Dividing Infinity, Sutton Gallery, Melbourne, 2006.
Selected group exhibitions: Bloom, Spring 1883, Melbourne, 2018; Every Brilliant Eye: Australian Art of the 1990s, National Gallery of Victoria, Melbourne, 2017; A discernible air, QAGOMA, Brisbane, 2017; Contemporary Murano Glass Art, Murano Glass Museum, Venice, 2016; Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria, Melbourne, 2015; Animal arch, Art Gallery of Western Australia, Perth, 2014; Mix Tape 1980’s: Appropriation, Subculture, Critical Style, National Gallery of Victoria, Melbourne, 2013; Reading the Space: Contemporary Australian Drawing 4, New York Studio School of Drawing, Painting and Sculpture, New York, 2013; Ten Years of Contemporary Art – The James C Sourris Collection, QAGOMA, Brisbane, 2012; Negotiating this World: Contemporary Australian Art, National Gallery of Victoria, Melbourne, 2012; Fountains and Drains, The British School at Rome, Italy, 2011; Forever Young: 30 years of the Heide Collection, Heide Museum of Modern Art, Melbourne, 2011.
Deliberate and elegant, her works give form to things poised at the threshold of transformation. Calling upon all of our senses, they ripple with connections and after-effects that linger, like perfume or a recurring dream.Jane Devery, 2019