Art
During the many lonely years spent raising her three children, she found solace by making natural assemblages, first via traditional flower arranging, later with the rigorous Japanese art form Sogetsu Ikebana. Her work in this medium was outstanding, earning praise from Japanese master, and founder of the Sogetsu School of Ikebana, Sofu Teshigahara. Nevertheless, by the late 1960s she had become dissatisfied with such limitations, and started experimenting first with small scrap iron sculptures and later wooden boxed assemblages, all composed of materials she found while on scavenging expeditions in the Canberra hinterland. Although the fierce, sunburnt landscape of Australia was initially a shocking change from the damp green hills of her familiar New Zealand, by this time she had come to love the "boundless space and solitude" of her new home. Much of her art reflects this, though some also harks back to her roots in New Zealand.
Gascoigne was strongly encouraged by artist Michael Taylor and by James Mollison, then director of the National Gallery of Australia in Canberra, who spotted her distinctive artistic talents early. Her first serious exhibition was at Ann Lewis's Gallery A in Paddington, Sydney, in 1974, when Gascoigne was 57; it was an instant success, and a mere four years later she had become a major figure in the Australian art world, with a survey at the National Gallery of Victoria. Her assemblages moved through many stages, to a certain extent dictated by the colours and types of materials she was currently interested in.
Read more about this topic: Rosalie Gascoigne
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