Rosie Lloyd-Giblett
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"Dust Collectors" written by Meaghan Shelton, artist, arts writer, educator. January 2013 


'Dust Collectors’,
Chapter 1.

Artists are natural born collectors; bricolage and ready-mades ranging from small snippets of fabric to animal bone can be found in an artist’s cache.  Rosie
Lloyd Giblett is one such artist, fondly referring to the flotsam and
jetsam in her treasure trove as ‘Dust Collectors’. The alchemy of
memory and travels, both the artist’s own and her predecessors’,
map diverse territories. Her lineage is steeped in the colonial
beginnings of rural Queensland threading its way through the African
plains and the Lockhart River; she has saved the things that move
her. Found objects collected from family cast offs to coveted bric-
a- brac stored whilst teaching, working and living with the
Indigenous communities of Africa and the Lockhart river are testament
to how an artist’s collection is fundamental to their art practice.

These objects and their stories collected by Lloyd Giblett from her familial oeuvre and her
own journey have been preserved through the artist’s process and
carry both personal and formal dialogue.  The work has become a net
by which to capture and hold the wisdom of the ‘old’ ones,
whether blood ancestors or the original custodians the artist
acknowledges the importance of elders and the knowledge that they
keep. Lloyd Giblett attributes her farming heritage and living so
close to the land as providing the perfect backdrop for her work.

Every artist takes a unique approach to their practice often depending on time and space,
at times Lloyd Giblett’s process evolves in a somewhat shambolic
way.  Randomly casting objects as one would jacks, sometimes strewn
directly onto the studio floor allowing interplay of light and
shadow, a die is cast and the artist sets the scene for the next
subject of a not- so- still- life! Juggling home life, four children,
Primary teaching, surfing & travel, the art of Rosie Lloyd
Giblett always manages to find a way.  Drawing on this raggle taggle
approach she traverses worlds of a sensory kind to tease out the
narratives in which her precious objects are entwined. Within the
jumble of memory and current concerns imbued in these objects, cast
offs become enshrined in the flatness of her chosen pictorial space,
taking on a life of their own. Haphazardly; sometimes overlapping,
sometimes teetering on an edge, she presents her chosen objects
precariously. It is as though just as we grasp the true identity of
the object and its significance, or grasp the thread of its
narrative, just as quickly it morphs back into the patchwork
quilt-like landscapes so lush with colour and detail.

The skull of a Kingfisher Lloyd Giblett chose from a box of miscellaneous, unmatching crockery which once belonged to her Grandmother. The artist refers to her
collection as archival objects; ‘Often, the sharing of stories
cannot transpire in their full glory without an associated object to
hold in one’s hands. In that era they didn’t really talk, so the
objects can tell a part of the story... if you listen.’ 

The ritual of this artist’s process provides a necessary method as a means to divine a
constant in the flux. There is a sense of self-examination present in
the work, as if through the sheer psychometry these precious objects
have to offer, the artist’s desire to see herself from a different
angle has been realised. 

By Meaghan Shelton.
Artist, arts writer, educator. January 2013