Deutscher and Hackett

‘For more than three decades, Rosslynd Piggott has been making paintings, objects and installations that give form to hard-to-name sensations. Her works have courted the elusive and the ethereal. They have captured states of flux. They have circled ideas of impermanence, the fleeting and the fugitive. Piggot’s career-long obsession with the intangible is evident in works from all phases of her career, carried by certain motifs and materials that appear time and again: air, glass, mirrors, water, clouds and other atmospheric conditions, flowers and all manner of phenomena from the natural world. That is not to say that her work is merely concerned with the exterior world; on the contrary, it is equally concerned with inner states and deep emotional registers. If there is a quality that unites her works it might be described as a kind of wonder – a sense of being of the world yet somehow belonging to a different ealm of experience. Or, as the artist herself once suggested, she is ‘a striving for a vision, in response to the world, but somehow outside it’.’¹

1. Devery, J., Rosslynd Piggott: I Sense You, But I Cannot See You, National Gallery of Victoria, Melbourne, 2019, p. 3