Rosslynd Piggott was born in Frankston, Victoria and graduated with a Bachelor of Education (Art and Craft) from The University of Melbourne in 1980. Since then she has participated in many major solo and mixed exhibitions and projects including a residency in 1987 at the Australia Council Studio ‘Il Paretaio’ in Italy, and at Cité International des Arts, Paris in 1993. A certain delicacy and aspects of surrealism can be perceived in all of her work and often her focus is on flora, as with her entry for the 1991 Moet & Chandon awards. Flora is also a feature of the 1989 painting in The Holmes à Court Collection, The most beautiful plant. This depicts a single, voluptuous plant that seems to personify the abundance of all that is exotic, yet set in a vast, endless space.
In recent times, Rosslynd has experimented with new media. The two monumental digital prints seen in the Gallery's A Collection Survey exhibition were purchased from her series Tracing Sky and describe this shift, and the connections in her art. Rosslynd discusses these issues in her own words.
"Tracing Sky is a series of digital inkjet prints starting from a film of very casual photographs I shot at the sky from my backyard in Melbourne. Needing to test a new camera before I went on a trip to Japan, I just went outside, looked up and shot! The results were surprisingly gorgeous, dramatic, vaporous, mysterious images of the space up there!
I have often dealt with the notion of endless space in my paintings, but not so pictorially as in these photographic images. Yet, I feel these images manage to slip into the painterly space and an unfixed space, through their blurred and broad ‘pixelled’ surface.
The photos were scanned into a computer world, enlarged and added onto (in much the same way as with my painting) with devices or motifs, in a single gesture. The thread across the sky becomes a kind of reassuring device for immeasurable space. Other devices such as deep black circles and blurred white windows become spaces into voids and Emptiness – as understood in a Buddhist context – the inherent non-existence of things. These spaces then picture this interface between our humanness and the big space/home where we come and go."
Rosslynd Piggot 14/8/2002