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Public art in Hobart tells the story of female convicts in Van Diemen’s Land

Hidden in the shadows

Public art has been used in Hobart to reveal stories of female convicts that have been hidden in the shadows for decades.

The silence of history has been broken, and the layers of history have been peeled back to reveal a story of resilience and agency in the face of misery and hardship.

The logo of the Cascades Female Factory Historic Site in South Hobart (CFFHS)

These stories have been commemorated in two sets of statues, one on the Hobart waterfront and one at the Cascades Female Factory in South Hobart, by Irish sculptor Rowan Gillespie.

Footsteps Towards Freedom (2017)

In 2017, the Footsteps Towards Freedom statues were installed on the Hobart waterfront and unveiled by the President of Ireland, Michael Higgins, and the Governor of Tasmania, Kate Warner.

The proposal was first mooted in 2015 when Hobart Lord Mayor Sue Hickey, the Speaker of the House of Assembly Elise Archer and the Governor of Tasmania met to discuss the project.

Irish sculptor Rowan Gillespie was commissioned to undertake the art installations. Dublin-based Gillespie is from a global community of bronze-casting sculptors and works from a foundry in County Clare in Ireland. He is one of the few who works on site-specific art installations and uses the lost wax casting process to portray human emotions where a metal sculpture is cast from an original.

Footsteps Towards Freedom art installation at Macquarie Wharf No 1 on the Hobart waterfront (I Willis 2024)

The four statues that make up Footsteps Towards Freedom are located on Macquarie Wharf No. 1, where the convict women were taken off the ships.

The women were then walked up Macquarie Street to the Female Factory to await assignment or to be kept there if they were considered unassignable.

The Monuments Australia website states that Footsteps Towards Freedom is:

https://monumentaustralia.org.au/themes/landscape/settlement/display/112076-footsteps-towards-freedom

<pic 4 statues on Macquarie wharf Hobart>

The President of Ireland Michael Higgins said at the opening of the art installation:

https://fromtheshadows.org.au

From the Shadows (2021)

Following on from the success of the Footsteps of Freedom project, the Governor of Tasmania, Kate Warner, launched the From the Shadows project at a reception at Government House in 2019.

In 2021, the Governor of Tasmania, Kate Warner, unveiled the first of two statues, one of a pregnant convict outside the Cascades Female Factory and the other in the factory yard.

The statues were designed and constructed by Irish sculptor Rowan Gillespie.

From the Shadows art installation at the Cascades Female Factory in South Hobart. This statue of a pregnant female convict, completed by Irish sculptor Rowan Gillespie, is located outside the grounds of the factory. (I Willis 2024)

The Governor of Tasmania Kate Warner said at the opening of the first statue in 2021

https://www.govhouse.tas.gov.au/sites/default/files/documents/2022-03/from_the_shadows_2021_.pdf
Statue of a female convict in the yard of the Cascades Female Factory that is part of the art installation From the Shadows by Irish sculptor Rowan Gillespie. (I Willis 2024)

Cascades Female Factory

The Cascades Female Factory was one of a number of sites of reform and retribution of the British penal system in Van Diemen’s Land, where women could be hidden from their English masters.

Cascades Female Factory in South Hobart (CFFHS)

Women of Irish, Scottish and Welsh descent and working-class English women from the northern counties.

If the factory walls could speak, they would tell harrowing tales of depravity, immorality and corruption. Decadence, sinfulness, perversion, degenerate, evil and wickedness for the upright church-going middle-class of colonial Hobart.

The female factory was opened at the Cascades from 1828 to 1856 at a time when women had few legal rights. The story of the female factory is one of women’s agency, resilience and perseverance in the face of incredible adversity and hardship. Hundreds of descendants in Tasmania point to these stories.

Now rebuilt with a new interpretative information centre, the female factory allows these stories to be told. Women’s stories and experiences at the female factory have been re-interpreted. Stories of trauma, queerness, loss and dispossession of children, and loss of identity.

One of the yards at the Cascades Female Factory in South Hobart (I Willis 2024)

The very fact of the isolation and desolation of the female factory did, in its own way, lead to enough remnants of the factory remaining on its original site to be able to resurrect the stories and experiences of the women experiences and stories.

Careful interpretation of the old and its remnants have produced a hauntingly real experience for visitors at a site of hardship and trauma for many women inmates.  

 The Cascades Female Factory website states that the

 https://femalefactory.org.au/audioguide/
Cascades Female Factory in South Hobart in the late 19th century (CFFHS)

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Red Flanders poppies, a field of memories

A flower honours the dead

The red Flanders poppy appeared in Camden in recent years when local identity Frances Warner was inspired to crochet them for Anzac Day in 2013. Frances was inspired by the efforts of two Melbourne women, Lyn Berry and Margaret Knight, who had organised the 5000 Poppies Project. They initiated the project to pay tribute to their fathers’ military service in World War Two, triggering a massive community outpouring of emotions, memories, and commemorations. Frances’ efforts were part of this response.

Wreaths with artificial poppies for the 2023 Anzac Day Ceremony in Camden from Camden Florist (CF 2023)

What is the significance of the red Flanders poppy?

The red Flanders poppies were among the first plants to spring up in the battlefields of northern France and Belgium after the war. Soldiers’ folklore said that the vivid red came from the blood of their fallen comrades.

The poppy symbolises many cultural mythologies, from remembrance to sacrifice, dreams, regeneration, and imagination. In Christianity, the red of the poppy symbolises the blood of Christ and his sacrifice on the cross. The Roman poet Virgil used poppies as a metaphor to describe fallen warriors in his epic tale, the Aeneid, written around 25 BC. (https://www.uniguide.com/poppy-flower-meaning-symbolism)

The Anzac Portal website states that Canadian medic John McCrae recalled the red poppies on soldiers’ graves who died on the Western Front and wrote the poem ‘In Flanders Field’. He wrote the poem whilst serving in Ypres in 1915, and it was published in Punch magazine after being rejected by The Spectator. (https://www.iwm.org.uk/history/why-we-wear-poppies-on-remembrance-day)

In Flanders Fields

by John McCrae (1915)

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie,

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.

https://www.poetryfoundation.org/poems/47380/in-flanders-fields

Red poppies growing in the fields at Flanders remind the community of the soldiers’ lives lost in battle during World War One on the Western Front. (2023, Narellan Town Centre)

In response to In Flanders Fields, American humanitarian and teacher Moina Michael was so moved by the poem that she pledged to ‘keep the faith’ and scribbled down on an envelope ‘We Shall Keep The Faith’ in 1918.

We Shall Keep the Faith

by Moina Michael, November 1918

Oh! you who sleep in Flanders Fields,
Sleep sweet – to rise anew!
We caught the torch you threw
And holding high, we keep the Faith
With All who died.

We cherish, too, the poppy red
That grows on fields where valor led;
It seems to signal to the skies
That blood of heroes never dies,
But lends a lustre to the red
Of the flower that blooms above the dead
In Flanders Fields.

And now the Torch and Poppy Red
We wear in honor of our dead.
Fear not that ye have died for naught;
We’ll teach the lesson that ye wrought
In Flanders Fields.

Moina Micheal used the poppy symbol to raise funds for US ex-servicemen returning from World War One and was known as ‘The Poppy Lady’.  (http://www.greatwar.co.uk/people/moina-belle-michael.htm)

Australia

In Australia, the Returned Soldiers and Sailors Imperial League of Australia (RSS&ILA) first sold poppies for Armistice Day in 1921. The League imported one million silk poppies made in French orphanages. The RSL continues to sell poppies on Remembrance Day to assist its welfare work. (https://www.awm.gov.au/commemoration/customs-and-ceremony/poppies)

People place a red poppy next to a soldier’s name on the AWM Roll of Honour ‘as a personal tribute’. This practice began in 1993 at the internment of the Unknown Australian Soldier. (https://www.awm.gov.au/commemoration/customs-and-ceremony/poppies)

This image shows poppies on the Roll of Honour at the Australian War Memorial in Canberra. (K Alchin, 2021)

United Kingdom

Poppies are used in remembrance all over the world. In the United Kingdom, the white poppy represents an international symbol of remembrance for all casualties of war, civilians and armed forces personnel, and peace.

Artificial poppies were first sold in the UK in 1921 to raise funds for ex-servicemen and their families for the Earl Haig Fund supplied by Anna Guérin in France, who had manufactured them to raise funds for war orphans. It proved so popular that the British Legion started a factory in 1922 staffed by disabled ex-servicemen to produce their own.

The Imperial War Museum website states:

Other charities sell poppies in different colours, each with their own meaning but all to commemorate the losses of war. White poppies, for example, symbolise peace without violence and purple poppies are worn to honour animals killed in conflict.

(https://www.iwm.org.uk/history/why-we-wear-poppies-on-remembrance-day)

 Melbourne’s 5000 Poppies Project

The 5000 Poppies Project started when Lyn Berry and Margaret Knight set out to crochet around 120 poppies to ‘plant’ at Melbourne’s Shrine of Remembrance in 2013 to honour their fathers’ memory. Wal Beasley (14/32nd Battalion – Australian Imperial Forces) and Stan Knight (Queen’s Own West Kent Regiment – British Army). (https://5000poppies.wordpress.com/about/)

 The 5000 Poppy Project has had art installations on Anzac Day and Remembrance Day at Melbourne’s Shrine of Remembrance (2017, 2019) and in Canberra at the Australian War Memorial and Parliament House (2017). The 5000 Poppies Project has gone international with an installation at London’s Chelsea Flower Show in 2016. (ttps://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show/2016/articles/a-field-of-poppies-at-chelsea)

Melbourne’s Shrine of Remembrance with the art installation of 5000 Poppies in 2017 (5000 Poppies)

The 5000 Poppies project has become an international tribute of respect and remembrance to those who have served in all wars, conflicts, peacekeeping operations, their families, and communities. (https://5000poppies.wordpress.com/about/ )

Frances Warner’s Red Poppy Project

Frances Warner has crocheted hundreds of red poppies, sold them for fundraising, and co-ordinated art installations with knitted poppies. All commemorating the memory of local men and women who have served our country in times of conflict and peace.

 Frances said that one red poppy takes around 45 minutes to crochet, and she estimates that she has knitted over 650. She has voluntarily contributed approximately 480 hours of her time, and she is not finished yet by a long way.

Frances says she is very ordinary yet has done an extraordinary job. Frances joins a long list of local women who have volunteered thousands of hours to honour the service of local men and women who have served in conflict and peacekeeping.

Knitted poppies made by Frances Warner (F Warner 2023)