
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
Katie Paterson
United Kingdom b.1981
To Burn, Forest, Fire 2021
Bespoke incense sticks
Dimensions variable
Originally commissioned by IHME Helsinki, 2021
Courtesy: The artist
Katie Paterson’s To Burn, Forest, Fire 2021 unfurls gradually via the wafting aromas of incense, a highly sensory experience that transports us to the imagined extremes of evolutionary time. In the gallery space, two small incense sticks — an acid green one labelled ‘First Forest’ and a darker green one designated ‘Last Forest’ — stand on a tray in a recessed niche, marking either end of a vast epoch. Each morning, the fragrance embalmed in these incense sticks is released during a ceremonial offering, which takes place by the Bodhi tree at the entrance to GOMA. As part of this formality, a bell rings, a text explaining the artist’s intention is read, and those present are invited to experience the rich, olfactory evocations of both the first-ever forest on Earth and the last-ever forest in the age of climate crisis. As the incense burns, its smoky articulations heighten our awareness of ecologies and environments currently imperilled. Raising the spectre of their extinction, Paterson encourages us to reflect on how our actions have shaped and hastened this threat.
Katie Paterson’s To Burn, Forest, Fire (detail) 2021 / Commissioned by IHME Helsinki, 2021 / Courtesy and © Katie Paterson / Photograph: Veikko Somerpuro
Paterson worked with a global team of researchers to understand the ecological composition and profile of each fictitious forest, drawing on detailed scientific knowledge about the long-term evolution of life on Earth. Together with geologists, biologists and ecologists, she arrived at an imagined character for the first primeval forest by taking her cue from a petrified North American forest dating to the middle of the Devonian period, some 385 million years ago. Captured and concentrated in a bespoke incense stick by the renowned Japanese atelier Shoyeido, the scent of ‘First Forest’ is described by the artist as one of ‘swampy decay’. Its fragrance notes are shaped by the prehistoric soil’s cultivation of ferns, algae, fungi and early invertebrate insect life, but not yet sweet-smelling flowers or modern-day vegetation.