one season just like her, 2003

mixed media/sound installation
Cleveland House Stables Gallery, Cleveland, Tasmania
(part of Highway1 project, curated by Jane Deeth for the Ten Days on the Island Festival)


About the work:
Cleveland House Stables was once a staging post for horse-drawn carriages travelling between Launceston and Hobart. Horse races used to be held on a course behind the house when it was the Bald Faced Stag Inn. Where are the horses now?

The installation focuses on the use of pregnant mares, often held in captivity so their urine can be collected for the production of a particular brand of hormone replacement therapy (HRT).

This is a widely prescribed and popular product taken by an estimated 9 million women worldwide. It reaps billions of dollars for the pharmaceutical company each year. However, the industry has hidden costs and outcomes for over 75,000 mares and their foals.

In broader terms, the work refers to global issues of excess and abuse in a society that considers itself civilised.

Each room includes recorded cello sound (a single note played continuously and deliberately wavering slightly out of tune) and ambient traffic sound from the highway.


Horses' tails (tanned to rawhide) in installed tarred wooden 'stocks':

Text from the entry under 'Horse' from the Oxford English Dictionary (full edition), hand written around all pillars:


Rock wall pointed with collected horse hair and plaster.

One of three clawfoot baths filled with yellow/ammonia liquid, bathroom chain and towel ring:


Three tables with 'foal legs', linen tablecloths, knives and forks, and horsehide plates (into which are etched the words 'fold', 'enfold' and 'unfold'):

'Unfold' plate (etched horse hide):

'Is there a white horse on the hill?' text written in chalk on the window frame
(refers to chalk horses on the downs in rural England):


Horse hides (3), dresses, cups/saucers, yellow liquid:

The following four videos show an informal walk-through of the installation
(low resolution videos):





This installation would not have been possible without the horses of Tasmania, the generosity of their friends and owners, and many businesses, organisations and individuals.

The horses include Radar, Shirlee, Sir Monty, Piper, horses from Michelle’s School of Riding (including King, Amos, Beau, Trinity, Rocky, Sheba, Mikos, Shern, Angus, Roxy, Brandy, Midnight, Copper, Chips, Tanco, Missy, Candy), Cossacks Treasure (alias Ra) (dec.), Jancara Jasper (alias Jasper), Janacara Micalla (alias Mischief), Shemali Tashaan (alias Tasha), the miniature horses of Brady’s Lookout, the Shetland ponies of Bridgenorth, and the horses no longer here.

The people include: 

curator: Jane Deeth

cello sound recording: Christina Marsden

tables and stocks: Vaughan Fisher

linen tablecloths: Marjorie Deeth

opening speaker: retired Cleveland Stables groom Lindsay Flood

horse hair/hides: Jack and Beryl Hind, Rick Stamford, Blue Ribbon Processing, Leonie Geard, Leonie Agius, Debbie Buckland, Melita Gard, Shirley Gillespie, Michelle Wood, Janelle from Lilydale, Tony Smith, Jess Dawkins, Maree Woolley and her daughter, Kathy and Brenda from Brady’s Lookout, Sascha Kielar-Coe, Len and Pauline Bambridge, Liz Pugh, Alison Johnstone

baths: Dave Nicol, Karlin Love, Dave and Dallas Brimble

practical assistance with set-up and exhibition sitting: Dennis White, Kim and Veronica Nielsen-Creeley, Trudy and Kevin Humphries, Diana North, Crissy Hawkins, James Allenby, Marg Falk

also: Olssen Industries, Patrick Tasmania, Ric and Stephanie Kalesh (site owners), Brett Chilcott, Oscar and Sandra Owen, Launceston Linen Supplies, Bristol Paints, Neale Edwards Pty Ltd, Roberts Ltd

and the countless others who have helped along the way. Unfortunately there is no room to name you all here, but your help and involvement have been greatly appreciated. Thank you.