Monday, October 14, 2013
Does one look at this work as a whole or as a work in parts? Either way 'Dress Code' suggests to be much more than the sum of its parts.
Each individual small scale work is the painter's response to getting dressed and to the evidence of vision, one imagines a quick furtive glance in the mirror. The viewer imagines the artist is doing so with a sense of satisfaction, a degree of anticipation of the day's planning and some form of joy of being able to create work out of the mundane. As anyone involved in art education will attest, many days pass without much serious work, unless you want to say that art teaching is serious work, which it is by the way.
Not as serious as getting dressed though and Maryanne Coutts proves the point in this rather stunning collection of works over a period of about six months. Colour and pattern is the order of the day and the pose is often one of: here I go. There are images in there that are as fluid as the day that comes and then there are those that are as tentative as the start of a drawing class.
Days can go either way.
Jelle van den Berg
1st October - 2nd November 2013
Saturday, September 21, 2013
The titles of each work read out like segments from a love story, the good the bad and the ugly but ultimately end in that passionate embrace of love making after that volatile fight.
Louise Tuckwell has proven once and again that her work is as passionate, growing from strength to strength, painting killer lines as sharp as a knifes edge, her powerful colour combinations to soften any blunt force trauma and broadcasting it to the world that her paintings and tapestries are to die for.
‘I want it’ is what I overheard quite a few people were saying at the opening and ‘I want it bad’ some said and I hope those made a concerted effort with a deposit.
‘Release Me’ acrylic on birch wall relief 300x200x600mm is a sexy slice of licorice allsorts, if I could eat it then there would be a bite taken out of it. ‘Encode + Transmit’ acrylic on two birch panels, 530x630mm is not going to reveal it’s secrets after one kiss but maybe after some long lingering looks.
‘Informal Relation’ acrylic on five birch panels, 225x1020mm will however entice you onto that gorgeous soft green sofa and whisper sweet nothings in your ear.
These new works will most likely leave a lasting impression on my sensitive persuasion and hopefully keep that flame burning bright.
10th September - 21st September 2013
Friday, September 20, 2013
Hailing from Spain and residing in New York, Isidro Blasco has blessed us here in Sydney with a gob smacking delight of a show at Dominik Mersch Gallery in the Danks Street Waterloo complex in Sydney. On close inspection the work was intense with an attention to detail to rival anyone with obsessive intent.
Photograph’s taken, laminated, folded to replicate floor boards, architraves and door ways of each interior/exterior. The backing supports are reminicent of my time in the 80’s working backstage for a number of Theatre companies in Brisbane as there is enough wood and foam board to build an actual life size stage set.
‘Zero Gravity House’ C-Print on museum board, wood and hardware, 48x66x18 cm has chairs floating or most likely suspended from the ceiling, with each chair leg made into relief. My eyes were drawn to the Biedermeier and then the tall boy and continued on to check out every nook and cranny. Chairs are the focal point in this piece, 24 of them either hanging from the ceiling, at the forefront or tucked into a corner and everything else became irrelevant.
‘Penelope’s House’ C-Print on museum board, wood and hardware 20x56x9 cm being an Architecturally designed house allows for a perfect fold out of the width of the interior, from window to window and stairs in the middle, fireplace to the grand piano. Penelope’s house is simplistic in design but the most effective I found.
‘Anita’s Garage’ C-Print on museum board, wood and hardware 20x55x9 cm was almost identical as Penelope’s house as it’s from one side to the other, representing the extent of the working artist with canvas’s and drawings hung. The floor is sparse as room is needed for much pacing from one end to the other and standing in front of the works for final completion.
‘House with Basement’ C-Print on museum board, wood and hardware 20x50x10 cm was one to look at, at first glance you miss it but if you angled your head you’d see him looking back at you.
‘East FM’ C-Print on museum board, wood and hardware 25x42x11 cm a non domestic interior but a place of work and somewhere I’ve visited to talk about Art. It’s all about the angles, capturing every centimeter of the work space and transforming it and I would have to take a wild guess at how many photograph’s Blasco would take in each interior let alone the entire show. There was a great little video on how Blasco put this show together on the Galleries website which revealed the start to finish.
‘The Doll House’ C-Print on museum board, wood and hardware 30x36x11 cm, it’s not just the photo’s but the supports could well be the star of the show, with a 2D work you may just lose the want to look at the intensity of detail from each folded photograph, following each shelf to find something new about it’s inhabitants lifestyle. The occupant Christine Myerscough was blown away with the fact that her shelves became alive more so than when she is there in person. That fact accounts for something as these works were so theatrical that they demanded an audience and you can feel their prescence as soon as you walked into the Gallery.
A wonderful way to showcase a room or in this case a hallway with, ‘The Consul’ C-Print on museum board, wood and hardware 24x36x9 cm, revealing an intimate collection of paintings, photograph’s and objects. I kept coming back to this piece as I was quite partial to it, it’s created to reveal a distant room, just one long view to a point and I’m left wondering what was in that end room.
Blasco’s interiors offer a moving narrative to the ongoings of domestic life, just not all were the interior of a home or office but also a vehicle as in ‘The Godess II’ C-Print on museum board, wood and hardware 12x24x8 cm. The Citroen DS-9 was and always will be the perfect car and how wonderful to represent it in this way, a salute to it’s designer. Folded out into a way to showcase it’s bedroom like interior in three sections showing off passenger and driver’s seat, it’s superb comfort enhanced by it’s retro colour scheme.
‘Book Shelf’ C-Print on museum board, wood and hardware 38x32x10 was one of my favourite’s as I found it strangely comforting that someone else’s many books and magazines have a home when mine sit waiting on the studio floor. The extention of the shelves reveal the supports and gives it an added dimension. It’s bulging at the seams but more can be added I’m sure.
The larger work ‘Gale Edwards’ C-Print on museum board, wood and hardware 80x100x5 cm was an entire house walking in from the front door and almost to the back door, a life time in theatre unfolded infront of us. Four levels of display revealing the inner workings of this house which comes across as being larger than life, each room was filled to the maxium and stylized to within an inch of it’s life.
Each work seemed to leap off the wall as Blasco has taken each location to another level, his earlier work was more exteriors and were much larger and more compacted. His use of colour enhancement within the printing process seemed to give a more surreal affect which changed our perception.
‘QVB’ C-Print on museum board, wood and hardware, 80x125x21cm gave us a birds eye view perched in the right place to show a panaramic of the interior of this grand old lady, helping us to notice elements that we’ve never seen before and making us to consider going back to discover for ourselves.
That’s what it is all about, rediscovering a new way to see beyond what we already see, redefining our perception of how we all live, some maybe more dramatic than others but it’s our way to create a comfortable existence.
Although to define that existence would have been better to showcase the work only on three walls instead of the entire gallery, this exhibition needed a lot of space around it, hanging it on every available wall space just made it fall into a schasm of confusion and to retain the integrity of each work would have produced a far more powerful response on arrival.
Blasco is one to look out for as what’s his next fold going to be.
10th August - 7th September 2013
Saturday, September 14, 2013
Hexamatic – A confoundedly great show, wowed from the very moment of walking into At The Vanishing Point. When it comes to interactive video work then you’ve got me, you have my full attention.
‘Hashes to Ashes’ data visualisation software, computer, projection, audio, 2013 is the direct response to when Linkedin suffered at the hands of hackers and over one million passwords were hacked. This work is brilliant, the use of overlaying colours with passwords decrypted from hashes is probably technically simple but for a tech simpleton like myself it’s so effective, I remember reading about this break in when it happened and with the help of Muljana and Brenner to remind us to how and what our passwords should be or not.
We all make the same mistake of repeat use of our passwords, something we all need to stop doing.
After seeing this work I made the effort and changed all my passwords.
‘Traces’ software, video, projection, this work is the finished product from a residency at Fraser Studios in 2011, and is also brilliant with etched figures superimposed over a warehouse interior background, dancing across the screen.
The moment when you realize that there is something more than a room full of portable radios and just out of sheer luck as you are walking around the room and notice something changes in the process. ‘Oh I like that’ and then I get excited. Listening intently, but realizing I can’t for the life of me understand a word, each radio projected spoken sound, ‘Interference’ 2012 sound transmission, video projection is a wonderful intelligent put together piece and one I would have liked to have taken home. Radio transmissions of speeches made by world leaders and a chance to catch yourself projected onto the wall just for a fraction of time.
Johannes Muljana and Pamela Lee Brenner are two equally passionate Artist’s, their work is diverse, they don’t just make pretty pictures projected onto walls they make works with meaning and substance, stories unfold, giving us a wake up call to change the way we protect our privacy. I loved the subtle reference when I realized what most of these work were actually about as none of these works were in your face, more like quiet achievers which left a lasting impression.
So it was a pity that no one from ATVP bothered to turn up on the last day to make access available for the artist’s and to allow visitors to view and experience this show. Not sure what the hell happened there but I’m very thankful I was one of the lucky ones to see it.
15th August - 1st September
Monday, July 29, 2013
Queensland artist, Rosie Lloyd-Giblett’s show ‘Bones and Bouquets’ is an exhibition that requires more than one visit. I found the work slowly drawing me in. I became fascinated by the stories the artist is telling, the ideas she is exploring and the link they have with her personal history – growing up on a cattle property in Western Queensland.
Rosie also uses the process of writing poetry to access her personal philosophical dialogue. I found her words so immensely enjoyable.
Eat my dust brother
I used to love making dust on my motorbike.
Speeding home after being outside working
Past the graveyard of animals that have been
What animal were you and what will you become?
Bones are a metaphor for memory and reflection
Bones have been beings and will continue to be.
Memories transformed and transferred to another life.
Questions of life, and more specifically the impact we are having on the natural environment of regional Queensland are raised in these works. The artist recalls playtime with her brother and spending hours tracking animals, following the paths through to somewhere… into gullies or over cultivation. “The bones we came across were not for kicking,” said Rosie. “We would walk around them and even sit for a while.
“Bones should be respected and viewed as a memory - thus the metaphor. Bones are placed on the land and they become it. Is this reincarnation? Does the bone become a rock or something else? The bouquets are the flora we collected and often placed in remembrance of those beings that had passed on,” says Rosie.
My favourite work was ‘Groundcover’ – to me this painting is very reminiscent of the artist’s childhood remembering – a girl lost in the bones. It raises the question – what are these bones? Are they her memories? Are they her forefathers? Perhaps they are the landscape. The bones are the groundcover. They are everywhere. If you have grown up in the bush you will understand.
There is a depth and straightforward honesty in this body of work that rings of authenticity.
16th July - 10th August 2013
Sunday, July 28, 2013
Would it be a space time continuum regarding this installation, maybe or a space colour continuum instead. Probably a bit of both as this wonderful fantastic work is so big and big enough to go for a stroll around. With over 100 panels, which each panel is 60x80cm paint on MDF, various colours but colour is Beata’s existence, it encapsulates her, it rules her life as it does many who work with colour.
The supports for each panel is rollers, so that each piece can easily move up against the other but given adequate space between each piece so as to allow for the floating affect. This process makes for an impressive work, only wish this work was the only piece in the gallery as I think the more space around it would have made it more impressive as it already is.
Pre mixed monochromed colours takes the pain out of mixing them yourself but also helps in achieving the desired affect. There is a concentration of pinks and reds in the middle with blues and greens on the outer with splatterings of greys and purple interspersed, like a giant test pattern and it lures you in to follow each colour to walk around it and make a connection with it.
Katherine Hepburn once said that you should think very carefully before you buy anything yellow as it stands for insanity, but nowadays it’s also for safety, Red is for love, Blue is for betrothal and Black for Betrayal. Silver for happy communications, Green for keeping calm, Gold for wealth and the list goes on.
It can make your heart skip a beat, shed a tear, laugh out loud or scream in anger and we would all be lost without colour even those who can not see colour.
7th June - 28th July 2013