Adaptive Re-use · Adaptive Reuse · Art · Artists · Artworks · Attachment to place · Belonging · Cascades Female Factory · Collective Memory · Colonialism · Community identity · Convicts · Cultural and Heritage Tourism · Cultural Heritage · Cultural icon · Grief · History · History of Emotion · Hobart · Hope and loss · Local History · Local Studies · Memorial · Memorialisation · Memorials · Memory · Monuments · Place making · Placemaking · Public art · Sense of place · Social History · Stories · Storytelling · Uncategorized · Women's history · Women's stories

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)

1968 Sydney Region Outline Plan · 1973 New Cities Campbelltown Camden Appin Structure Plan · Airds · Attachment to place · Belonging · Camden · Camden Story · Campbelltown · Elderslie · History · Hope and loss · Land releases · Landscape · Landscape aesthetics · Leppington · Local History · Local Studies · localism · Lost Sydney · Macarthur · Mount Annan · Mount Gilead · Narellan · Oran Park · Place making · Regionalism · rural-urban fringe · Ruralism · Sense of place · Storytelling · Sydney's rural-urban fringe · The Oaks · Town planning · Transition zone · Uncategorized · Urban development · Urban growth · Urban history · Urban Planning · urban sprawl · Urbanism

Sydney’s urban fringe: a transition zone of hope and loss

Winners and losers on the urban fringe

Mount Annan around 2002 CHS2005
Mount Annan around 2002 CHS2005

Sydney’s rural-urban fringe is a site of winners and losers.

It is a landscape where dreams are fulfilled and memories are lost. The promises of land developers in master-planned suburban utopias meet the hope and expectations of newcomers.

At the same time, locals grasp at lost memories as the rural countryside is covered in a sea of tiled roofs and concrete driveways.

Conflict over a dream

As Sydney’s rural-urban fringe moves across the countryside, it becomes a contested site between locals and outsiders over their aspirations and dreams. The conflict revolves around displacement and dispossession.

Sydney’s rural-urban fringe is similar to the urban frontier of large cities in Australia and other countries. It is a dynamic landscape that makes and re-makes familiar places.

More than this the rural-urban fringe is a zone of transition where invasion and succession are constant themes for locals and newcomers alike.

Searching for the security of a lost past

Fishers Ghost Festival

As Sydney’s urban sprawl invades fringe communities, locals yearn for a lost past and hope for some safekeeping of their memories. They use nostalgia as a fortress and immerse themselves in community rituals and traditions drawn from their past. They are drawn to ever-popular festivals like the Camden Show and Campbelltown’s Fishers Ghost Festival, which celebrate the rural heritage of Sydney’s fringe.

Local communities respond by creating imaginary barriers to ward off the evils of Sydney’s urban growth that is about to run them over. One of the most important is the metaphorical moat created by the Hawkesbury-Nepean River floodplain around some of the fringe communities of Camden, Richmond and Windsor.

Fringe communities use their rural heritage to ward off the Sydney octopus’s tentacles that are about to strangle them. In one example, the Camden community has created an imaginary country town idyll. A cultural myth where rural traditions are supported by the church on the hill, the village green and the Englishness of the gentry’s colonial estates.

Hope and the creation of an illusion

Outsiders and ex-urbanites come to the new fringe suburbs looking for a new life in a semi-rural environment. As they escape the evils of their own suburbia, they seek to immerse themselves in the rurality of the fringe. They want to retreat to an authentic past when times were simpler. It is a perception that land developers are eager to exploit.

Ex-urbanites are drawn to the urban frontier by developer promises of their own piece of utopia and the hope of a better lifestyle. They seek a place where “the country still looks like the country”. These seek what the local fringe communities already possess – open spaces and rural countryside.

The imagination of new arrivals is set running by developer promises of suburban dreams in master-planned estates. They are drawn in by glossy brochures, pollie speak, media hype and recent subsidies on landscaping and other material benefits.

Manicured parks, picturesque vistas and restful water features add to the illusion of a paradise on the urban frontier. Developers commodify a dream in an idyllic semi-rural setting that new arrivals hope will protect their life savings in a house and land package.

Destruction of the dream

CHS2436
Oran Park Development 2010 (Camden Image/P Mylrea)

Dreams are also destroyed on Sydney’s urban frontier for many newcomers. Once developers of master-planned estates have made their profit, they withdraw. They no longer support the idyllic features that created the illusion of a suburban utopia.

The dreams of a generation of ex-urbanites have come crashing down in the suburbs like Harrington Park and Mount Annan. The absence of developer rent-seeking has meant that their dreams have evaporated and gone to dust. Manicured parks have become overgrown. Restful water features have turned into dried-up cesspools inhabited by vermin.

Paradoxically, the ex-urbanite invasion has displaced and dispossessed an earlier generation of diehard motor racing fans of their dreams. The destruction of the Oran Park Raceway created its own landscape of lost memories. Ironically new arrivals at Oran Park bask in the reflected glory of streets named after Australian motor racing legends and sculptures that pay tribute to the long-gone raceway.

The latest threat to the dreams of all fringe dwellers is the invasion of Sydney’s southwest urban frontier by the exploratory drilling of coal seam gas wells. Locals and new arrivals alike see their idyllic surroundings disappearing before their eyes. They are fearful of their semi-rural lifestyle.

So what of the dreams?

Sydney’s rural-urban fringe will continue to be a frontier where conflict is an ever-present theme in the story of the place. Invasion, dispossession, opportunity and hope are all part of the ongoing story of this zone of constant change.

Front Cover of Ian Willis’s Pictorial History of Camden and District (Kingsclear, 2015)

Learn more

Ian Willis 2012, Townies, ex-urbanites and aesthetics: issues of identity on Sydney’s rural-urban fringe.

Ian Willis 2013, Imaginings on Sydney’s Edge: Myth, Mourning and Memory in a Fringe Community (Sydney Journal)

Updated 10 May 2023. Originally posted 24 September 2015