ROBERT JUNIPER FEATURE
Robert Juniper during the restoration of River Bed, eight bas relief panels created in the 1960s for the Town of Mosman Park council chambers. Despite the fact the works were thrown out during renovations in the early 1990s, Juniper remained unfazed by the act and relished the idea of restoring them. The September 2008 edition of the Artist’s Chronicle sheds light on the restoration process. Film production Studio Kraze. Film courtesy the Town of Mosman Park.
ARTIST’S CHRONICLE SEPTEMBER EDITION 2008
RARE JUNIPER WORKS RESTORED AFTER BEING THROWN AWAY
In the early 1990s builders refurbishing the Town of Mosman Park Council buildings simply took eight bas relief panels by Robert Juniper specifically created for the council chambers and threw them out with the builders’ rubble. Having been left outside overnight, the works were recognised by Councillor Graham Emery the next morning who immediately tried to confirm the origin of the unsigned works. It seems the Mayor of the day voiced his distaste for the works more than once, and wanted them replaced, but quickly back tracked when news of their value was established. Fortunately the works were damaged but not broken and later re hung in the Chambers.
Using moulds, Robert Juniper created the works in the mid 1960s using fibrous plaster, sand and found objects, including those from old mine sites in the Goldfields. During the process of its overnight foray some of the objects attached to the work were lost.
Only one other work using the same medium has been created during his long career and remains in a private collection. Juniper had not seen the works since 1965 when he helped to hang them, and was enthused at the prospect of restoring them, immediately setting to work creating new objects, and working at speed to restore the works which were delivered two at a time to his Hills studio.
Juniper was philosophical about the works being thrown away, recalling a continuous long painting which wrapped around three sides of the walls of the National Bank in Perth which he also eventually restored after holes were cut into it to accommodate air conditioning ducts. “They were terribly embarrassed about it,” said Robert, “and asked that I not mention it to anyone.” The work is now part of the collection of the Art Gallery of WA.
No Council record remains of the cost of the 1960s commission, and Robert himself cannot recall the price, but before restoration the works were valued at $160,000.
Robert said he was approached about the commission by the architect of the building, his friend Marshall Clifton (1903-1975). “His daughter was a practising artist, so that is how we would have met. It was in the days when architects had to beg to have art included in their work because no one really wanted it. He asked me to do it on a shoestring, otherwise it wouldn’t be approved. I distinctly remember hanging the works with Marshall, as the works were still wet and very heavy. Marshall, who was not a young man at the time, struggled as we tried to put them in place.”
Clifton belonged to an age of architects who believed a strong knowledge of art history an architecture essential, as well as practical artistic skills. A self- taught watercolour artist, he favoured modern architecture more suited to the Australian climate, such as Mediterranean styles, rather than slavishly following English traditions.
At the time Juniper was working at Hale School without the luxury of a studio. “The kitchen table was my studio. We had four children, and my wife at the time was working as a journalist, so I was chief cook as she usually arrived home late – I don’t think I was too bad at it! The table would be cleared for meals, before becoming a studio again. I created the works for the Town of Mosman Park in the backyard.”
He found inspiration for the work seeing an advertisement for Olivetti Typewriters which had used sand imprinted with hand marks and objects set in a mould. “With Mosman Park being near the sea and the river I wanted the works to look like the river floor.” While some objects were embedded into the work when it was wet, others were attached to the surface. Embellished copper, broken china, and small tiles from a coffee table his wife happened to be making at the time, found their way into the work, with mythical fish-like creatures cut from copper sheets underlining the maritime theme.
Of the restoration Juniper said many curators would disagree with adding to the work, believing its originality and authenticity is compromised. “I believe I am adding new thought to the work,” he said. The artist found his collection of found objects from the era to add to the work, such as shells, old ink wells and fish bones. “I was tempted to add part of an old Emu beer bottle, but I didn’t think it was appropriate.” And, taking no chances the works will be thrown out in the future, the previously unsigned works each now have copper plaque embossed with the artist’s name securely screwed onto the front.
Moving each work required a team of six people, with some at high ladder level, who carefully lowered the work to the ground level team who then placed the work on cradles, especially produced by exhibition designer Francis Chiffings to exactly fit the works and minimise handling.
The project has been documented by local filmmaker Lee Kennedy, with the short film being available to local residents and groups for special showings in the council chambers with the newly-restored works. The film is expected to be available for showing by November this year, just prior to the artist’s eightieth birthday in January 2009.
Town of Mosman Park Mayor Ron Norris said he was honoured and delighted to have the work of State Living Treasure Robert Juniper within the council chambers. He paid tribute to the council of the day which had the vision to approve the commission of the work which would have been a very innovative decision. Norris said, “when this occurred in the early 1960s it would have been most unusual for councils to support such a project.” The restoration project of River Bed was managed by Lyn DiCiero.