press release

March 31–October 13, 2019

The exhibition takes as its starting point the definition of “palimpsest”—originally a manuscript or document that has been erased or scraped clean to be re-used. It has since become used to mean “something reused or altered but still bearing visible traces of its earlier form.”

The exhibition will explore ideas of connections across time, how locations have multiple uses through time and multiple meanings, what endures and what disappears. The idea for Palimpsest came from the richly layered history of Lismore itself, and the verdant nature that surrounds it.

Shown with these works is archival material relating to Lismore from the Chatsworth Archive, including a map of Lismore town from 1773, an 1849 watercolour by Samuel Cook and photographs of the rebuild of the castle from circa 1895.

To sit alongside Palimpsest, students from local schools have gathered oral histories from their parents and grandparents, ensuring the locality’s histories are recorded for posterity. These histories are presented alongside the exhibition, offering a living archive of the changing nature of the town and its people.

Palimpsest will also feature a limited edition publication to accompany the show, to be published in June.

Michael Dean: Laughing for Crying Michael Dean’s immersive sculptural installations begin with his own writing, which he translates into physical form, from letter-like human-scale figures to self-published books deployed as sculptural elements within his installations. His materials are readily available, and include concrete and steel reinforcement bars. His sculptures are exposed to the elements as he works on them outdoors.

For Lismore, Michael will create a new body of work especially for the space at St Carthage Hall, and will feature a 96 page publication to accompany the show.

Nicole Eisenman, Zoe Leonard, Hilary Lloyd, Charlotte Prodger, Martine Syms, Lynette Yiadom-Boakye, Andrea Zittel. Curated by Charlie Porter