Two Wongs Making a White II

BACKGROUND: The research was informed by literature on site-specific art practices. In 'One Place After Another: Site Specific Art and Locational Identity' (2002), Kwon critiques the history of site-specific practices since the 1960s, unpacking the unstable relationship between location and identity in a globalising society. My research considered how site-specific installation could address the ways that immigration processes obscure the relationship between location and identity, and the resulting personal losses that can occur. CONTRIBUTION: In relation to the location of Australia and a Chinese identity, 'Two Wongs Making a White II' considers the early 20th century’s ‘White Australia’ policy from the inside perspective of a Chinese family, often targeted for exclusion. The title plays on the well-known phrase by Australia’s former immigration minister, Arthur Caldwell, who said, ‘Two Wongs don’t make a white’ (1947), representing Australia’s racism during this period. My work focuses on traditional Chinese practices of ancestral worship in retelling the story of my Grandmother, who was denied immigration to Australia during White Australia. The work imagines our relationship through the scenario of sharing a meal as an offering, both of us absent from the table. Rookwood Cemetery was a significant site for the work, as it is the resting place for our family, except my Grandmother. The work provided a cross-cultural perspective through personal narratives relating to the site. SIGNIFICANCE: This work was selected to be part of 'Hidden Rookwood Sculptures' by Dr Katherine Fries, who sought diverse cultural narratives to recognise the varied populations of the cemetery. Rookwood Cemetery funded an artist fee to participate in the exhibition. The exhibition received widespread media coverage on social media and local television coverage, such as 'Channel 7 News' and 'The Sydney Weekender'.