Dr Vincent Alessi: a personal response to William Kelly’s 'Peace or war: the big picture'

The following essay by Dr Vincent Alessi, La Trobe University, Melbourne, was published in the room brochure to accompany William Kelly's Peace or war: the big picture, on display in the La Trobe Reading Room from 3 October to 4 December 2016.

World War I was meant to be the war that would end all wars. The enormous loss of life, the destruction of cities and towns, and the frivolity of violence to resolve international conflict became an example that was never meant to be repeated. A century later this statement and sentiment is used in equal measure sarcastically and with a sense of loss. Over the last hundred years we have witnessed a second world war, countless civil conflicts and international coalitions fighting against perceived common enemies. Society continues to demonstrate its willingness to accept conflict as a replacement for peaceful resolution. It buys into the rhetoric that war is the only solution to resolve differences. We have become immune to the tragedy and horrors of conflict due to a 24-hour news cycle that ensures we consume violent events as entertainment from the comfort and safety of our lounge rooms. We have become so used to conflict as an acceptable means that many condemn those who challenge its use, labelling them politically correct or left-leaning pacifists. However, what is politically correct about caring for the life of another human being? Why is it left-leaning to have faith in dialogue? And what is so wrong with wanting to live in a peaceful world?

Throughout history artists, writers, musicians, activists, politicians and citizens the world over have kept the flame alive of not wanting to repeat the mistakes of WWI. What drives their commitment is the underlying belief that every life is important and should be protected and treasured. They share the ideal of a common humanity. They understand the notion of the human experience and how what happens to one can happen to all. Today’s reporting of conflict purposely focuses on gains made or technology used so as to dehumanise the reality of war. However, while we have lived in a century of monumental advances in technology, enabling governments to fight wars remotely or launch jet fighters that are undetectable, the one remaining constant has been the human experience: individually and collectively. The grief felt by a mother whose child has been lost in a bombing never changes. The news received by parents that their son or daughter has been killed in conflict is and has always been devastating. The fear felt at the sound of a nearby explosion or the whirling scream of an approaching military jet has always been terrifying. And walking down a street that is no longer populated with upright buildings and the chatting and laughter of community is desperately and overwhelmingly sad.

This deep and respectful understanding of the human experience defines William Kelly and is at the core of his art practice and this remarkable artwork. For almost five decades he has created work that engages audiences to reflect on issues of violence, war and trauma and to be open to the endless possibilities of resolution through peaceful and collaborative means. Kelly does not stand in the corner with a loudspeaker shouting and directing his world view. He is more intelligent and poetic than that. He is an artist and a humanist who understands that sitting down and talking and explaining our differences and celebrating our commonalities is more productive, more rewarding and more effective. His art has always been serious, honest and confronting. However, it is not loud and controversial. Instead it is gentle, quiet and contemplative. It asks us to stop, look, think, consider and act not via direction but rather by dialogue.

Kelly’s new work at State Library Victoria, suspended in the domed La Trobe Reading Room, continues his artistic modus operandi of dialogue and a commitment to humanist principles while also asking us to consider the reality of our collective failure in not heeding the lessons of WWI. The scene at the top of the work of a peaceful street populated with an image of a child and adult evolves to reveal the changing nature of war machines from the biplanes of WWI to the stealth bomber used in the first US–Iraq conflict. Gone are the human elements and the calm and serenity of cohesive societies. Instead, what remains is a constant scene of destruction and loss of life. Together with vignettes of historic and artistic moments, Kelly lays out for us both our historical failures but perhaps more importantly, the constant human belief that we can do better. In a century where the world has been dogged by conflict there remain people who believe in love, peace and the need to fight for it for all of humanity. Listed throughout the work are the names of artists of all disciplines who have demonstrated through their work and life a commitment to humanist and pacifist ideals.

Sitting at the bottom of Kelly’s monumental new work is a large foundation stone, which acts as the rock that holds up a century of images and events. On closer inspection we see that it is engraved with the names of hundreds of artists, musicians, writers and activists who have spoken out in defence of peace, love and humanity. Marcel Duchamp, John Lennon, Yoko Ono, Charles Dickens, Pablo Picasso, Joan Baez, Fiona Foley, Noel Counihan, Chris Wallace- Crabbe, Joseph Beuys. The one artist’s name that is missing and should always be discussed in the context of those that have come before and will come after is William Kelly. A man who continues to believe in the power of art as a facilitator for action. A man who continues to believe that we can and will live in a world of peace. A man who treasures and celebrates everything that is wonderful about humanity.