The Dingo in the colonial imagination

This thesis is comprised of two parts: a Studio Research component with accompanying Exegesis (66%), and a Dissertation (33%). The Dissertation provides the historical theoretical component that informs the Studio Research and Exegesis, entitled The Dingo in the Colonial Imagination.This body of work investigates the tensions between humans and animals that share boundaries. It focuses on the terse relations between humans, dingoes and wild dogs in southeastern Australia. Ideological and practical themes emerged through the studio-based and theoretical research, which spans a range of disciplines including art, science, culture and history. At its core is how humans and undomesticated animals share arbitrary boundaries and suffer the transgression of these boundaries. Primary field research informed the studio and theoretical aspects of the project. It involved consultation with individuals and agencies affected by dingoes and wild dogs in interface zones where private and government managed lands intersect. The 30,000 word dissertation traces colonial visual representations of the Australian native dog during the century that spans early European settlement to Federation. It follows perceptions of the dingo as it is imagined and encountered by European settlers. The dingo's guise ranges from scientific curiosity, object of desire, symbol of wilderness, metaphor for a dying race and as an enemy that threatens the social and economic fabric of the colonial project. The studio work amplifies the influence of these colonial perceptions on contemporary attitudes to dingoes. It follows a trajectory of the disappearing dingo in its representational form, to its implied remnant presence within the farmers' psyche. Early studio work explored a range of materials and practices, encompassing sculptural and drawing strategies, and took its cue from a macabre ritual of animal shaming in remote regional Australia, the so-called 'dog trees', that display the carcasses of one or multiple dingoes and wild dogs. The studio work has culminated in a large-scale sculptural installation, designed to pare back the visual language to its essential elements. This work incorporates the dissolution of the dingo form, which becomes absorbed into the personal objects embedded into the farmers' private territory. The poetic objects that form the final sculptural work presented for examination, Lines of desire, become metaphors for the dingo's capacity to survive and unsettle the rural subconscious