Set in the remarkable landscape of the western wilds of Tasmania, Mandy Hunniford’s Remembrance, Landscape and Belonging is a large-scale, multimedia production. Created in Mandy’s studio in Queenstown over a twelve-year period, this ambitious eight-part series presents a variety of media including painting, film, sound design, digital light installations and a work of remembrance. First created to acknowledge the great loss Queenstown has endured through mining accidents over the last century, Remembrance, Landscape and Belonging is now not just defined by the sadness of those years but also by Queenstown’s resilient, determined community and its distinctive, regenerating landscape. Presenting rich, multilayered experiences, Mandy seeks out both the sorrow and the beauty, the fragile and the robust, and how Queenstown is shaped by those elements. Mandy’s investigation of Queenstown is explored through a combination of themes: the closeness and connections of its community, its beautiful but contested landscape and the complex histories of an arts-wilderness-mining town. Woven into Remembrance, Landscape and Belonging are many layers of text with copper and gold paint that signify the sources of Queenstown’s origins and heritage. Mandy is the fourth generation of her family to come from Queenstown and has a genuine connection to the town and the West Coast through family and an existing engagement with the Queenstown community. Remembrance, Landscape and Belonging is a modern, innovative production that directly engages both young and old, building community pride and helping to bind the past with the unifying spirit of remembrance, landscape and belonging.

1. Mandy Hunniford
Remembrance, Landscape and Belonging
Queenstown 2010-2022

2. Page 3: Overview
Page 4: Part 1 - North Lyell Mine Disaster 1912
Page 6: Part 2 - Centenary Memorial
Page 8: Part 3 - The Notes (I Will say Goodbye)
Page 10: Part 4 - Belonging
Page 15: Part 5 - Origins - Landscapes of Queenstown
Page 22: Part 6 - Requiem (For the Fallen Miners)
Page 25: Part 7 - To Those that did not Return Home
Page 27: Part 8 - Copper and Gold
INDEX
Mandy Hunniford
Remembrance, Landscape and Belonging Queenstown 2010-2022
Cover page: Centenary Memorial 2012 Digital light installation Queenstown
This page: The Tree of Life (West) 2021 oil on canvas 97 x 97 cm (Detail)

3. OVERVIEW
Set in the remarkable landscape of the western wilds of Tasmania, Mandy Hunniford’s Remembrance, Landscape and Belonging is a large-scale,
multimedia production. Created in Mandy’s studio in Queenstown over a twelve-year period, this ambitious eight-part series presents a variety of media
including painting, film, sound design, digital light installations and a work of remembrance.
First created to acknowledge the great loss Queenstown has endured through mining accidents over the last century, Remembrance, Landscape and
Belonging is now not just defined by the sadness of those years but also by Queenstown’s resilient, determined community and its distinctive,
regenerating landscape. Presenting rich, multilayered experiences, Mandy seeks out both the sorrow and the beauty, the fragile and the robust, and how
Queenstown is shaped by those elements.
Mandy’s investigation of Queenstown is explored through a combination of themes: the closeness and connections of its community, its beautiful but
contested landscape and the complex histories of an arts-wilderness-mining town. Woven into Remembrance, Landscape and Belonging are many
layers of text with copper and gold paint that signify the sources of Queenstown’s origins and heritage.
Mandy is the fourth generation of her family to come from Queenstown and has a genuine connection to the town and the West Coast through family
and an existing engagement with the Queenstown community. Remembrance, Landscape and Belonging is a modern, innovative production that directly
engages both young and old, building community pride and helping to bind the past with the unifying spirit of remembrance, landscape and belonging.

4. Part 1
Title: North Lyell Mine Disaster 1912
Year: 2011
Medium: oil on canvas
Size: 137 x 355 cm (Triptych)

5. Exhibited as part of These are the years that we share at Soggy Brolly Gallery, Queenstown in 2022.
Exhibited as part of In Memoriam, Queenstown Parts 1-6 in partnership with National Trust, Tasmania
and Queenstown Heritage and Arts Festival (now The Unconformity) in 2014.
Exhibited as part of Awe and Flux: Works of Western Tasmania at LARQ Gallery, Queenstown in 2011.
On October 12, 1912, at the North Lyell Mine in Queenstown, a fire broke out in the timber pumphouse.
On the surface the fire could have been easily extinguished but in the confines of the underground
mine the smoke, fumes and lack of oxygen were deadly, causing the trapped men to perish.
North Lyell Mine Disaster 1912 is a memorial artwork dedicated to the fallen miners that did not return
home. Using the work as an epitaph, the fallen miner's names, ages and places of birth are
commemorated in gold paint as are the notes sent up from the stranded men and goodbye notes left
for their loved ones.
Despite frantic efforts to save them, forty-two miners lost their lives in the North Lyell mine disaster.
Albert Gadd, known as the forty-third miner, gave his all to help with the rescue operations but due to
monoxide poisoning died a few months later. His widow later received a bravery medal for his selfless,
heroic efforts in saving his mates.

6. Part 2
Title: Centenary Memorial
Year: 2012
Medium: Digital light installation

7. On the eve of the centenary of the North Lyell Mine
Disaster in 1912, Mandy projected an image of her painting,
North Lyell Mine Disaster 1912, on to the wall of the Galley
Museum in Queenstown. Chosen for its historic exterior the
Galley Museum also contains the original photos, notes and
memorabilia from the mine disaster.
As in all mining tragedies, there is no doubt that the
families and community of Queenstown were trapped along
with the men. Centenary Memorial was Mandy’s response
to the devastating loss of those forty-three sons, fathers and
husbands and the sadness and grief that the community
shared.
Centenary Memorial was presented as part of the Queenstown Heritage and Arts Festival (now The Unconformity) in 2012.

8. Part 3
Title: The Notes (I will say Goodbye)
Medium: oil, canvas
Size: 60 x 720 cm (12 panels)
Year: 2014
The Notes (I will say Goodbye) is in memory of the miners who were trapped underground in the Mt Lyell Mine Disaster in 1912. Struggling to
breathe from the toxic fumes, within the confines of the compacted ground and with the end of their lives imminent, they sent notes to the surface
asking for help. “We are losing confidence; the cold is terrible and that there is no time to lose”. The fallen miners also left notes behind for their
loved ones. “Dear Agnes, I will say goodbye, sure I will not see you again anymore. I am pleased to have made a little provision for you and little
Lorna”.

9. Exhibited as part of These are the years that we share at Soggy Brolly Gallery, Queenstown in 2022.
Exhibited as part of In Memoriam, Queenstown Parts 1-6 and was presented in partnership with National Trust, Tasmania and Queenstown Heritage
and Arts Festival (now The Unconformity) in 2014.

10. Part 4
Title: Belonging
Medium: Digital light installations
Date: 2020 - 21

11. Belonging highlighted how art, history, architecture and
landscape can combine for the enjoyment of the
Queenstown community through a series of spontaneous
digital light installations. Mandy’s aim was to reveal and
reframe the unique character, landscape, and history of
Queenstown through its impressive historic architecture.
Belonging was a series of digital light installations of
Mandy’s Queenstown landscape paintings that were
illuminated onto several significant buildings in
Queenstown. These included the Post Office, Evans Store
and the Galley Museum.
Belonging confirmed a strong sense of identity, a connection
to Queenstown’s iconic landscape and architecture with the
knowledge that belonging comes in many forms.

15. Part 5
Title: Origins - Landscapes of Queenstown
Medium: oil, acrylic, canvas, pine, Queenstown rocks
Size: 25 x 48 x 15 cm
Year: 2021
A Box of Landscape (Queenstown) 2015 acrylic on pine, Queenstown rocks 25 x 48 x 15cm

16. With the striking colours of its unique landscape Mandy presented Queenstown's multilayered topography with its rugged challenges, complex histories
and dramatic wildness. Mandy created Origins – Landscapes of Queenstown in her Queenstown studio using the surrounding landscape as its core
component with traces of beauty, whimsy and pathos.
Origins - Landscapes of Queenstown was exhibited at the Mountain View Motel as part of The Unconformity Festival in 2021.
The Confluence, King and Queen Rivers 2013 acrylic on canvas 61 x 122 cm

17. Landscape Memorial in Copper and Gold 2010 oil on canvas 120 x 180 cm

18. The Tree of Life (West) 2021 oil on canvas 97 x 97 cm

19. Origins 2021 acrylic on canvas 61 x 61 cm

20. Copper, Gold and Iron Ore 2021 oil on canvas 50.7 x 50.7 cm

21. The Queen River (February 1970) 2013 acrylic on canvas 100 x 100 cm

22. Part 6
Title: Requiem (For the Fallen Miners)
Medium: King Billy Pine, Huon Pine, acrylic, Queenstown rocks
Size: 60 x 60 x 95 cm
Year: 2014

23. Requiem (For the Fallen Miners) is a work of remembrance created in memory of the fallen
miners and as a tribute to their resilient families and the determined communities of the
West Coast of Tasmania.
Mandy based the structure of Requiem (For the Fallen Miners) on a ‘pigsty’ timber support
that were once used to underpin the rock ceilings in the Mt Lyell Mine. Old photographs
provided historical references showing the use of these supports many decades ago. Local
King Billy and Huon pine were crafted to create the structure and the square box which hold
the varnished and hand painted rocks that Mandy had gathered from several sites near the
Mt Lyell Mine.
Exhibited as part of These are the years that we share at Soggy Brolly Gallery in
Queenstown in 2022.
Exhibited as part of the Queenstown Heritage and Arts Festival (now The Unconformity)
and National Trust, Tasmania in 2014.
Requiem (For the Fallen Miners) was assisted through Arts Tasmania by the Tasmanian
Government

24. Part 8
Title: To Those that did not Return Home
Medium: oil on canvas
Size: 101.6 x 609.6 cm
Year: 2014-22

25. To Those that did not Return Home is dedicated to the fallen miners on the West Coast of Tasmania who never made it back h0me to their families and
friends. With painted landscape and gold text Mandy brings the fallen miner’s names to the surface for the communities of the West Coast. Nothing
demonstrates the fragility of life more than the unexpected loss of it and Mandy sensitively developed and created To Those that did not Return Home in
her Queenstown studio.
One of the toughest job traditions, miners do their work with pride, purpose and with identity and solidarity inherited from those that went before them.
Because to be a miner is not just another job, the risks and dangers are high and remain that way. West Coast miners and the fallen miners have a right to
be proud given how much they have contributed to the growth and prosperity of the West Coast and Tasmania over the last century. Mandy hopes that
the opportunity to create confirms to the communities of the West Coast that their men are here and with their names held up before us, we will
remember them all.

26. To Those that did not Return Home (Panels 1-6) was exhibited as part
of These are the years that we share at Soggy Brolly Gallery in
Queenstown, 2022.
To Those that did not Return Home (Panels 1-3) was presented as part
of the Queenstown Heritage and Arts Festival (now The
Unconformity) and National Trust, Tasmania in 2014.
To Those that did not Return Home was assisted through Arts
Tasmania by the Tasmanian Government.

27. Part 7
Title: Copper and Gold
Mandy Hunniford with Scott Atkins and Laurence Maddy
Year: 2022
Medium: Film, sound design

28. Copper and Gold is an ongoing series of short, dynamic films that reflect the creative experiences, themes and outcomes of Mandy’s extensive art
practice in her hometown. With the inventive and talented team of videographer, Scott Atkins and sound designer, Laurence Maddy, Mandy is
producing Copper and Gold for delivery in 2025.
Copper and Gold (Stage 1) was made possible through the Arts and Screen Digital Production Fund, assisted by the Arts Tasmania and Screen
Tasmania through the Tasmania Government.

29. Acknowledgements: Raymond Arnold, Travis Tiddy, Phil Evans, Sandra Smith and her family, Natalie Gleeson, Emmylou Smith, John Halton,
Rhonda Hamilton, Jesse Hunniford, Scott Atkins, Laurence Maddy, Patrick Sutczak, Lea Walpole, Kelly Eijdenberg, Vikki Iwanicki, Jayne Reed,
Ian Bradshaw, Nathan and Alex Williams, Graeme Mee, Derek Chilcott, Helena Demczuk, Brett Schultz, Diane Powell, Todd Wilkin, Marina
Franke, Jen Wren Bayes, Candy Murphy and the communities of Queenstown and the West Coast of Tasmania.
Remembrance, Landscape and Belonging was supported by Arts Tasmania and Screen Tasmania through the Tasmanian Government, The
Unconformity, National Trust Tasmania, RANT Arts and Interweave Arts
The Artist acknowledges and respects the palawa people as the traditional custodians of lutruwita/Tasmania and honours their ongoing
cultural and spiritual connections to this land.
The historical information for Remembrance, Landscape and Belonging, Queenstown 2010-2022 was supplied by the Artist from various
sources except for Part 8 which was supplied by Jayne Reed.
Photography by Jesse Hunniford, Todd Wilkin, Rod Rainbird and the Artist.
Still frame from Copper and Gold by Scott Atkins.