one season just like her - Review by Daniel Thomas:

“Bron Fionnachd-Féin filled the stables at Cleveland House, a former staging post for horse-drawn carriages, with an installation about present-day use of horses: pregnant mares have to produce oestrogens for millions of women undergoing hormone replacement therapy (HRT). One room was hung all round with mares’ tails, blonde, brunette and black; in another each stall contained a bathtub filled with intense urine-yellow liquid and the rock wall was ‘mortared’ with felt-like groomings; the third room stank with hides from recently slaughtered beasts. Feminist installations are too often shy and fiddly. This excellent surprise on Highway 1 was big and bold and smelly.”

Daniel Thomas 2003,  ‘Ten Days on the Island’ (review), Art Monthly, vol. 159, May, p. 33


one season just like her - Review by Stephanie Britton:

“Perhaps the event most nicely tailored to the travelling festival-goer was Jane Deeth’s invitation to artists to make installations at five points on the Midlands Highway between Launceston and Hobart. Hwy1 stopped motorists from getting from A to B in the quickest possible time by inviting them to stop at the old staging posts and take time to contemplate the history and current situation of these places now that they have all been bypassed by the highway. Two of these made a lasting impression.

At Cleveland House, an old inn, an unattended installation by Bron Fionnachd-Féin awaited the unsuspecting visitor in its 19th century stone stables. Already thrown off-balance by ancient cobblestones and the gloomy interior, the row of horses’ tails pinned to the walls complete with roughly cut rump hide indicated that we were confronting animal death; judging by the smell it was not long in the past. From a passage-way where the courses of the whitewashed stone walls were lined with horse hair, was a row of small rooms each containing a full size cast-iron bath on legs. The baths contained a yellowish liquid, and each was tethered to a ring set in the wall. Beyond this, another room, this time containing three tables each set for a film noir meal consisting of the words ‘fold’, ‘enfold’ and ‘unfold’ carved out of fresh hide.

It was in the final room with three horse carcasses, old-fashioned cotton frocks on hangers and an afternoon tea setting with dainty cups containing more of the yellow liquid that the smell became nauseating and one rushed for the door, thankful for the innocence of the little lawn, blue skies and trees beyond. Those knowing visitors who think about the urine of pregnant mares and its role in hormone replacement therapy would have understood the title one season just like her and pondered the fate of horses in today’s ‘civilised’ society. Courageous in confronting these things and skilful in achieving such quiet menace in her piece the artist faces us with one of those ethical questions which will not go away just because these days it is rarely mentioned.”

Stephanie Britton 2003, ‘Ten Days on the Island’ (review), Artlink, vol. 23, no. 2, May, pp. 80–83 (incl. two colour images)

Self Portraits Series, Skip and Shell

…smaller scaled works of Bron Fionnachd-Féin (Power). Her new works continue to examine the crisis of migrant life in a cultural limbo, but in a far subtler and more personal way. The four small cocoons, from the Self Portraits series, suggest a withdrawal, but at the same time, the moment before the constraining webs of stitched spun hair come asunder to reveal what is hidden is an ever threatening possibility. Still more portentous are Skip — a skipping rope knitted from the artist’s hair — and Shell. They are the vestiges of remembered girlhood (in a different land?), adolescence (the hairbrush handles or the rope), and of motherhood (hair the universal symbol of vitality) — also, in some traditions, grief, mourning and penitence.”

Greg Leong 2002, ‘Life and Death’ (review), Artlink, vol. 22, no. 2, p. 86

Self Portraits Series:

“What I did enjoy most are the works of Bron Power. Strongly inviting touch, her cocoon-like shapes are fascinating and the combination of materials used to construct them is truly amazing.”

Joerg Andersch 2000, Mercury newspaper, 26 February, p. 41

“Bron Power, who has come from Scotland, expresses feelings associated with her own displacement through her elegant mixed-media chrysalis-like forms and unique brooches.”

Jo McIntyre, Examiner newspaper, 8 July 2000, p. 28


Homonym (Rock) III

“Bronwen Power brings her Celtic imagery into a point of collision with the imagery of Australia. Through the use of fly wire mesh, gauze and organza, her subtle imagery wafts in and out of focus.”

Gillian McCracken 1999 ‘Many Voices: The 13th Tamworth fibre textile biennial’, Craft Arts International, no. 45, pp. 109–112


Ripping Yarns: Fibre, Fable and Narrative

“Bron Power’s work invites us to adopt an alternative approach, arguing against the privileging of sight. She invites us to touch. One work is comprised of a body symbol and text all but obscured beneath the layering of fabric and surrounded by a frame of frames (glasses). A mat in the form of a blindfold covers the floor in front of the wall element. This mat incorporates more plastic frames. A sign adjacent to this piece says: “Visitors (viewers) are invited to tread on the floor piece”. Tentatively one obeys. The frames break underfoot.

The unease and difficulty the ‘viewer’ has of accepting the invitation and becoming the ‘feeler’ places the space that usually exists between the audience and the work in sharp relief. This space is commonly assumed to be made of nothing; it is shown here to be made of the necessity for vision to remain at a distance.

A reassessment of the viewer’s position in relation to all the works becomes necessary and the doors of another experience beyond the visual are opened.”

Jane Deeth 1996, ‘Ripping Yarns: Fibre, Fable and Narrative’, Textile Fibre Forum, no. 46, p. 55


Body 1 [Interaction]

“It was pitch-black, gentle yet eerie music filled the ebon space, and slowly shuffling on the sand-strewn floor, I eventually triggered a welcome light to reveal the object of interest.

The ‘black hole’ mentioned above contains two intriguingly textured cones, one pyramid-like on the floor, the other inverted and suspended only centimetres above the lower, setting a ‘touch point’. With the surrounding darkness yielding an almost claustrophobic sensation, the added tension created by the two cones seems to double the feeling that the ceiling may come down any minute — but the soft, tactile surface of the cones making it a pleasurable experience.”

Joerg Andersch 1995, Gallery Watch, Mercury newspaper, 28 October