All the works in this exhibition, to varying degrees, serve to break the monopoly of traditional European landscape, and replace it with alternatives for which we might or might not yet have a name - but which we could just as well call 'landscape' and thus splinter the semantic field of that term. And it's not trivial that these works are moving images. The moving image is probably the medium or aesthetic site in which we see, most powerfully, the wresting away and reclaiming of the landscape tradition from its bourgeois-Romantic roots.
- Eu Jin Chua 'Untethering Landscape'


For UK film and video makers growing up in the experimental ferment of the 1960s and 1970s, a simple reconstitution of romantic traditions of landscape painting was untenable; the iconoclasm of the age demanded a radical rethink of both the plastic arts and the grammar of film and television that came boxed with the movie camera. Painting was jettisoned along with conventional sculptural forms and what was regarded as a redundant landscape tradition.
- Catherine Elwes & Steven Ball 'Polyvocal Islands: Moving Images from the Landscapes of the British Isles'


The histories, experiences, understandings, stories, and lives that have been suppressed during two centuries of white occupation [of Australia] have provided a rich though painful wellspring from which many artists have continued to draw. And although such territory is often 'deadly' serious, the approaches through which artists have chosen to interpret this undercurrent range from parody to gravitas.
- Danni Zuvela & Pat Hoffie, 'When Boundaries Flicker'


When applied to landscape, imagination encourages the ability to propose astute what-if scenarios that might help us stimulate some disrupted spaces so that they can become places again. This imagining must be partly speculation and partly remembrance. 'Remember' is a word that bears examination. It is a bodily word, the active verb sub- tending the noun 'memory'. Memory comes from two roots, memor, meaning 'to be mindful', and membrum, a limb. When you remember, you put a body back together by coordinating some disaggregated or severed members.
- Ross Gibson, 'Remembering a Future for Landscape in Australia'


Despite the fragility of our memories and the ways in which they are absorbed into the enormity of the landscape, it is through the landscape that we can and do find a sense of belonging and permanence. Beyond the indelible and visible markings that we leave on the land, we also imprint traces of our selves.
- Stan Frankland, 'Caught on Uncertain Ground: Belonging and Permanence in Moving Image Landscapes'


When you look at a landscape what do you see? This of course depends on who you are. It also depends on what you consider a landscape to be, how it is seen, and what you think there is to be seen. This collection of films and videos from Australian and British artists helps us to answer the initial question. It does this by showing that the act of seeing is not a simple matter: what you think you see is not all there is to see - what you do not at first see might be equally revealing.
- Eric Hirsch 'Disrupting the View, Revealing the Landscape'


Figuring Landscapes is a multifaceted title. The phrase suggests the idea of forming landscape, as in 'configure'; it suggests analysis and interpretation of landscape, as in 'figuring out' the subject; it could also imply peopling the landscape with figures. It thus compresses into a single phrase the making, reading, and inhabiting of landscape, which is after all what our lives are about: where we choose to settle, how we mould our environment, how we see ourselves within that environment, spatially and historically.
- Malcolm Andrews, 'Impressing the Landscape: Place and Human Presence in the Recent Work of British Moving Image Artists'

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