The Samstag Alumni
The 1994 Anne & Gordon Samstag
International Visual Arts Scholarships
Lynne Barwick | Michele Beevors | Matthew Calvert | ADS Donaldson | Sarah Lindner | Anne Ooms | Robyn Stacey | Carl Sutherland | Paul Uhlmann | Anne Wallace
The apparently arbitrary quality of objects in Anne Ooms's, The Organic Untruthfulness of Woman, conceals a reductive methodology of seductive rationality. Ooms's delicious title - a Freudian term for female hysteria (in which libido is displaced rather than experienced directly), functions as a nurturing womb, begetting progeny.
A text emerges, recalling fantasies of treeless green hills in summer, a black stallion - a city left behind. Loquaciously, the scene enlarges until, decisively, the author forgoes control. Given its own life, the text locates its bare essentials. "A young girl in a warm, large place, beginning a journey."
Of the same genealogy is the parallel conjuring of objects - recognised, found and seized. These sibling objects are but the signs of themselves - mere shells - a simulacrum of narrative, eloquently refined and opaque.
Ross Wolfe
from his Samstag essay;
Chaos in Heavean
| Anne Ooms Born 1958, Sydney, New South Wales |
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| 1994 |
Anne & Gordon Samstag International Visual Arts
Scholarship MFA, Glasgow School of Art, Scotland, UK |
| 1993 | Master of Visual Arts, Sydney College of the Arts, University of Sydney |
The Organic Untruthfulness of Woman 1994
installation: University of South Australia Art Museum
aquarium, baby shoes, black salt, synthetic cheese, eggs and zucchini
various dimensions
© the artist
The Organic Untruthfulness of Woman (detail) 1994
installation: University of South Australia Art Museum
aquarium, baby shoes, black salt, synthetic cheese, eggs and zucchini
various dimensions
© the artist