Rosalie Gascoigne, 2008, NGV, no. 34 (illus. p. 74, ref. p. 135).
Vista, 20 April – 11 May 2013, Charles Nodrum Gallery, Melbourne, no. 20.
Spring/ Summer, 2014, Justin Miller Art, Sydney
“In 2000 BG recalled the construction of Balance: She had the two elements in relation, she knew in her head that there was an optimum relationship. I understand it was the point of actual physical balance, so I manipulated them until the upper egg-shaped outline balanced on the lower curved piece of wood. Given the fact the lower elliptical-shaped board was already fixed to the support, and only one eligible part of the upper shape that would look good, the rounded curve, then there was only one point on the lower curve and only one on the upper that would balance. She said, that’s right. It was only a matter then of fixing the elements on the support (mid-2000 BG to ME, pers. comm.). BG gave a similar explanation at the opening of the 2008 NGV exhibition.” BG is Ben Gascoigne, Rosalie’s husband and ME is Mary Eagle, former curator at National Gallery of Australia and Rosalie’s daughter-in-law.
An extract from Gascoigne, M., Rosalie Gascoigne: A Catalogue Raisonné, ANU Press, Canberra, 2019
This distinctive assemblage of retro-reflective road signs epitomises Rosalie Gascoigne’s poetic use of found objects, particularly those containing text. Cut up into fragments, rearranged and composed in a grid formation, the panels display orderly shapes of text against a bright yellow background, the light-reflecting properties with a subtle ability to shimmer and shine. Gascoigne stated: “I don’t want it to be dramatically lit, but I do want it to sometimes flash at you, as road signs do, and then go sullen, then flash, like a living thing.” 1
 Gascoigne, M., Rosalie Gascoigne: A Catalogue Raisonné, ANU Press, Canberra, 2019, p. 307, cat. 675