UQ staff member Sasha Ackfun road tests the recently released guidebook to the Great Court, Carving a history: a guide to the Great Court, on location at the St Lucia campus
Have you ever stumbled into a new area and wondered, "Where am I?" The feeling that someone has after walking through a wardrobe or a magical gate to another plane of existence predominantly made of stone?
This is what I felt when I first entered the St Lucia Great Court. For those who haven’t seen this cultural and historical landmark of UQ, which included me until very recently, its sandstone walls feature hidden details and quirky carvings that even people who regularly walk the area may not be aware of.
With the release of a new guidebook, Carving a history: a guide to the Great Court, and a GPS-based app, UQ Carvings, people now have the opportunity to navigate through the history of the Great Court and its magnificent stonework. Since I only recently became a new addition to UQ myself and had never visited the campus before, I decided to grab a copy of Carving a history and wander through the Great Court to discover some of the area’s history myself.
But the carvings that are most recognised, and give the Great Court its character, are the grotesques commonly misnamed as ‘gargoyles’. Gargoyles are statues that adorn the outside of gothic buildings (which UQ is not) and exclusively have water running through them or help to guide water off roofs and gutters, such as those on the Cathedral of Notre Dame.
Grotesques on the other hand are low-relief caricature-like carvings of people with intentionally unattractive and comical depictions, and bring a little whimsy to contrast the stark outer walls of the Great Court’s sandstone buildings.
This style was chosen by University SculptorJohn Muller (1878–1953) because people higher up in the University did not want “representations of living persons” hanging from the walls of the Court. So instead, Muller chose grotesques so that the image of the subject or person was distorted. Because the grotesques were ‘anonymous’, early sculptors had the freedom to design and interpret characteristics of their chosen subjects satirically, to emphasise personal features.
During my tour of the Great Court, surprisingly, I found grotesques on display in the exhibition space of Duhig Tower's Social Sciences and Humanities Library (Level 1).
Apparently these are grotesque portraits of Professor Charles Schindler that were rejected entries from a 1976 competition to choose a new University Sculptor.
The winner of this competition, Dr Rhyl Hinwood AM, has her portrait of Professor Charles Schindler hanging in the Great Court and went on to carve hundreds of sculptures around the campus. The tools she used to carve many of the sculptures you see around campus today are on display along with the rejected grotesques.