Archive for the 'Dale Frank' Category

06
Jan
10

Melbourne’s Magnificent Dozen 2009

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Here’s my pick of the twelve best exhibitions in Melbourne for 2009 that featured on the Art Blart blog (in no particular order) – and a few honorable mentions that very nearly made the list!

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1/ ‘The Water Hole’ by Gerda Steiner and Jorg Lenzlinger at ACCA (Australian Centre for Contemporary Art)

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Gerda Steiner and Jorg Lenzlinger. 'The Waterhole' 2009

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Gerda Steiner and Jorg Lenzlinger
‘The Water Hole’
2009

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“The most effective bed has a small meteorite suspended in a net bag above it. The viewer slides underneath the ‘rock’ placing the meteorite about a foot or so above your face. The meteorite is brown, dark and heavy, swinging slightly above your ‘third eye’. You feel its weight pressing down on your energy, on your life force and you feel how old this object is, how far it has traveled, how fragile and mortal you are. It is a sobering and enlightening experience but what an experience it is!”

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This was a magical and poignant exhibition that was a joy for children and adults alike. Children love it running around exploring the environments. Adults love it for it’s magical, witty and intelligent response to the problems facing our planet and our lives. A truly enjoyable interplanetary collision.

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2/ ‘Ocean Without A Shore’ video installation by Bill Viola at The National Gallery of Victoria

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Bill Viola. 'Ocean Without A Shore' 2007 video still

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The resurrected are pensive, some wringing the hands, some staring into the light. One offers their hands to the viewer in supplication before the tips of the fingers touch the wall of water – the ends turning bright white as they push through the penumbrae of the interface. As they move forward the hands take on a stricken anguish, stretched out in rigor. Slowly the resurrected turn and return to the other side. We watch them as we watch our own mortality, life slipping away one day after another. Here is not the distraction of a commodified society, here is the fact of every human life: that we all pass.

The effect on the viewer is both sad but paradoxically uplifting. I cried …

These series of encounters at the intersection of life and death are worthy of the best work of this brilliant artist. He continues to astound with his prescience, addressing what is undeniable in the human condition. Long may he continue.

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3/ Rosalie Gascoigne at The Ian Potter Centre: NGV Australia

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Rosalie Gascoigne. 'Sweet lovers' 1990

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Rosalie Gascoigne
‘Sweet lovers’
1990

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This was a wonderful exhibition. Gascoigne rightly commands a place in the pantheon of Australian stars. She has left us with a legacy of music that evokes the rhythms, the air, the spaces and colours of our country. As she herself said,

“Look at what we have: Space, skies. You can never have too much of nothing.”

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Nothing more, nothing less.

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4/ The Big Black Bubble’ paintings by Dale Frank at Anna Schwartz Gallery

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Dale Frank. 'Ryan Gosling' (2008/2009)

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Dale Frank
‘Ryan Gosling’
2008/2009

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The artist offered the viewer the ability to generate their own resonances with the painting, to use the imagination of ‘equivalence’ to suggest what these paintings stand for – and also what else they stand for. States of being, of transformation, wonder and joy emerged in the playfulness of these works.

‘Ryan Gosling’ was a tour de force. With the poetic structure of an oil spill, the varnish forms intricate slick upon slick contours that are almost topographical in their mapping. The black oozes light, becomes ‘plastic’ black before your eyes, like the black of Rembrandt’s backgrounds, illusive, illuminative and hard to pin down – perpetually hanging there in two dripping rows, fixed but fluid at one and the same time (you can just see the suspensions in the photograph above).

This painting was one of the most overwhelming syntheses of art and nature, of universal forces that I have seen in recent contemporary art. This exhibition was an electric pulsating universe of life, landscape and transformation. Magnificent!

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5/ ‘So It Goes’ by Laith McGregor at Helen Gory Galerie

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Laith McGregor. 'The Last Bastion' 2009 (detail)

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Laith McGregor
‘The Last Bastion’ (detail)
2009

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Simply spectacular!

I had never seen such art made using a biro before: truly inspiring.
Inventive, funny, poignant and outrageous this was a must see show of 2009.

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6/ ‘triestement (more-is u thrill-o)’ by Domenico De Clario at John Buckley Gallery

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Domenico de Clario. 'o (la grande maison blanche – snow clouds massing)' 2008/09

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Domenico de Clario
‘o (la grande maison blanche – snow clouds massing)’
2008/09

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Painted in a limited colour palette of ochres, greys and blacks the works vibrate with energy. Cezanne like spatial representations are abstracted and the paint bleeds across the canvas forming a maze of buildings. Walls and hedges loom darkly over roadways, emanations of heads and figures float in the picture plane and the highlight white of snow hovers like a spectral figure above buildings. These are elemental paintings where the shadow has become light and the light is shadow, meanderings of the soul in space.

de Clario feels the fluid relationship between substance and appearance; he understands that Utrillo is embedded in the position of each building and stone, in the cadences and rhymes of the paintings of Montmarte. de Clario interprets this knowledge in a Zen like rendition of shadow substance in his paintings. Everything has it’s place without possession of here and there, dark and light.

For my part it was my soul responding to the canvases. I was absorbed into their fabric. As in the dark night of the soul my outer shell gave way to an inner spirituality stripped of the distance between viewer and painting. I felt communion with this man, Utrillo, with this art, de Clario, that brought a sense of revelation in the immersion, like a baptism in the waters of dark light. For art this is a fantastic achievement.

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7/ ‘McLean Edwards: Songs from the Ghost Ship’ at Karen Woodury Gallery

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McLean Edwards. 'Venus' 2009

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McLean Edwards
‘Venus’
2009

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These heterogeneous paintings were a knockout with their wonderful, layered presence – they really command the viewer to look at them and celebrate the characters within them. Whimsical, ironic and full of humor these phantasmagorical images of creatures cast adrift with the night sky as background are fabulous assemblages of colour, form and storytelling.

My friend and I really enjoyed this exhibition. We were captivated by these songs, going back to the work again and again to tease out the details, to feel connection to the work. These are not lonely isolated figures but sublime emanations of inner states of being expertly rendered in glorious colour. And they made us laugh – what more could you ask for!

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8/ Tacita Dean at Australian Centre for Contemporary Art (ACCA)

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Tacita Dean. 'Michael Hamburger' 2007

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Tacita Dean
‘Michael Hamburger [Still]‘
16mm colour anamorphic, optical sound
28 minutes
2007

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“One can see echoes of Sebald’s work in that of Tacita Dean  - the personal narratives accompanied by mythical and historical stories and pictures. The tactility of Hamburger’s voice and hands, his caressing of the apples with the summary justice of the tossing away of rotten apples to stop them ruining the rest of the crop is arresting and holds you transfixed. Old varieties and old hands mixed with the old technology of film make for a nostalgic combination … Dean implicitly understands how objects can be elegies for fleeting lives.”

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Tacita Dean is a fantastic artist whose work examines the measure of things, the vibrations of spirit in the FLUX of experience. Her work has a trance-like quality that is heavy with nostalgia and memory and reflects the machine-ations of contemporary life. In her languorous and dense work Dean teases out the significance of insignificant actions/events and imparts meaning and life to them. This is no small achievement!

As an exhibition this was an intense and moving experience.

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9/ ‘Ivy’ photographs by Jane Burton at Karen Woodbury Gallery

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Jane Burton. 'Ivy #2' 2009

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Jane Burton
‘Ivy #2′
2009

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I feel that in these photographs with their facelessness and the non-reflection of the mirror investigate notions of ‘Theoria’ – a Greek emphasis on the vision or contemplation of God where theoria is the lifting up of the individual out of time and space and created being and through contemplative prayer into the presence of God. In fact the whole series of photographs can be understood through this conceptualisation – not just remembrances of past time, not a blind contemplation on existence but a lifting up out of time and space into the an’other’ dark but enlightening presence.

The greatest wonder of this series is that the photographs magically reveal themselves again and again over time. Despite (or because of) the references to other artists, the beauty of Burton’s work is that she has made it her own. The photographs have her signature, her voice as an artist and it is an informed voice; this just makes the resonances, the vibrations of energy within the work all the more potent and absorbing. I loved them.

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10/ ‘Sweet Complicity’ by eX de Medici at Karen Woodbury Gallery

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eX de Medici. 'Tooth and claw' (detail) 2009

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eX de Medici
‘Tooth and claw’ (detail)
2009

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In other less skilled artist’s hands the subject matter could become cliched and trite but here de Medici balances the disparate elements in her compositions and brings the subject matter alive – sinuously jumping off the paper, entwining the viewer in their delicious ironies, all of us sweetly complicit in the terror war (send more meat, send more meat!), fighting tooth and nail to keep urban realities at arm’s length. The dark desires that these works contain possess an aesthetic beauty that swallows us up so that we, too, become ‘Barbarians All’.

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11/ ‘Emily Kame Kngwarreye: The Person and her Paintings’ at DACOU Aboriginal Art

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Emily Kame Kngwarreye
‘Wildflower’
1994

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The paintings were painted horizontally (like the painter Jackson Pollock who intuitively accessed the spiritual realm) and evidence a horizontal consciousness not a hierarchical one. Knowledge is not privileged over wisdom. There is a balance between knowledge and wisdom – the knowledge gained through a life well lived and the wisdom of ancient stories that represent the intimacy of living on this world. The patterns and diversities of life compliment each other, are in balance.

Wisdom comes from the Indo-European root verb weid, “to see,” the same root from which words like vision come. In this sense these are “Vedic” paintings in that they are ancient, sacred teachings, Veda meaning literally “I have seen.”

On this day I saw. I felt.

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12/ ‘Unforced Intimacies’ by Patricia Piccinini at Tolarno Galleries

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Patricia Piccinini. 'Doubting Thomas' (detail) 2008

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Patricia Piccinini
‘Doubting Thomas’ (detail)
2008

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Patricia Piccinini. 'Doubting Thomas' 2008

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Patricia Piccinini
‘Doubting Thomas’
Silicone, fibreglass, human hair, clothing, chair
2008

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The terrains the Piccinini interrogates (nature and artifice, biogenetics, cloning, stem cell research, consumer culture) are a rematerialisation of the actual world through morphological ‘mapping’ onto the genomes of the future. Morphogenetic fields seem to surround the work with an intense aura; surrounded by this aura the animals and children become more spiritual in their silence. Experiencing this new world promotes an evolution in the way in which we conceive the future possibilities of life on this earth, this brave but mutably surreal new world.

This was truly one of the best exhibitions of the year in Melbourne.

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Honorable Mentions

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  • ‘Climbing the Walls and Other Actions’ by Clare Rae at the Centre for Contemporary Photography
    In these photographs action is opposed with stillness, danger opposed with suspension; the boundaries of space, both of the body and the environment, the interior and the exterior, memory and dream, are changed.
  • ‘Johannes Kuhnen: a survey of innovation’ at RMIT Gallery
    We stood transfixed before this work, peering closely at it and gasping in appreciation of the beauty, technical proficiency and pure poetry of the pieces.
  • ‘Double Infinitives’ by Marco Fusinato at Anna Schwartz Gallery
    The images are literally ripped from the matrix of time and space and become the dot dot dot of the addendum. What Fusinato does so excellently is to make us pause and stare, to recognize the flatness of these figures and the quietness of violence that surrounds us.
  • ‘all about … blooming’ by JUNKO GO at Gallery 101
    Go’s musings on the existential nature of our being are both full and empty at one and the same time and help us contemplate the link to the breath of the sublime.
  • ‘Mood Bomb’ by Louise Paramor at Nellie Castan Gallery
    They are dream states that allow the viewer to create their own narrative with the title of the works offering gentle guides along the way. These are wonderfully evocative paintings.
  • ‘New 09′ at Australian Centre for Contemporary Art (ACCA)
    Finally you sit on the aluminium benches and contemplate in silence all that has come before and wonder what just hit you in a tidal wave of feelings, immediacies and emotions. The Doing and Undoing of Things.
  • ‘My Jesus Lets Me Rub His Belly’ by Martin Smith at Sophie Gannon Gallery
    At the end of days, when all is said and done, the funny diatribes with their ambiguous photographs are homily and heretic and together form a more inclusive body of bliss: ‘And also with you and you and you and you’

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25
Mar
09

Review: ‘The Big Black Bubble’ exhibition of paintings by Dale Frank at Anna Schwartz Gallery, Melbourne

Exhibition dates: 12th March  - 11th April 2009

 

“The immersive scale of these new paintings at Anna Schwartz Gallery Melbourne allows us to experience their inner qualities of landscape and of transformation. This is painting at fundamental authenticity. The paint is its own agent; it is allowed to act, to behave. The artist is the facilitator of these phenomena of nature and natural forces, whose residue is a metaphor for nature itself.

Black contains all colours, contours and depths. A pink monochrome is transformed by pure varnish into an expressionistic moment of process and performance. All colour is absent from elemental silver aluminium and form and gesture alone survive. New dynamics are possible through an innovative colouration: the emergence of colour through black, and its equivalent power.

Dale Frank’s painting is one of poetry, performance and nature. It represents both the macro and micro. Huge universal forces pulsate with molecular, atomic activities. Imagination is gifted by the artist to the viewer. These are our paintings to create.”

Anonymous text from the exhibition flyer.

 

Dale Frank. 'The Big Black Bubble' installation view at Anna Schwartz Gallery, Melbourne 2009

 

Dale Frank
‘The Big Black Bubble’ installation view
Left to right: ‘Timothy Oliphant’ (2008), ‘Ryan Gosling’ (2008/2009) and ‘Matthew Macfadyen’ (2008)
2009

 

Dale Frank. 'The Big Black Bubble' installation view at Anna Schwartz Gallery, Melbourne 2009

 

Dale Frank
‘The Big Black Bubble’ installation view
Left to right: ‘Daniel Radcliffe’ (2008/2009), ‘Khan Chittenden’ (2009) and ‘Rupert Grint’ (2008/2009)
2009

 

This is a brilliant exhibition by Dale Frank, one of my favourites so far this year in Melbourne.

Six large varnish on linen landscape paintings are presented in the beautiful Anna Schwartz gallery space in Melbourne. Photographs really do not do the paintings justice – they can only give an impression of the size and scale of the work but not of their intimacy or smell. The smell of varnish permeates the air. The serendipity of the natural convulsions of the varnish and the facilitations of the hand of the artist, his performance, have been caught like bugs in amber in the final molecular structure of the painting. Here are pendulous, globular goops of varnish, immersive heroic tone poems that form images in the mind of the viewer. Moving close to the paintings you are surrounded by flows and eddies, the macro and the micro; details become more apparent as you study the work.

While disagreeing that these paintings are the viewers to create (the viewer as author) what I can say is that the artist offers the viewer the ability to generate their own resonances with the painting, to use the imagination of ‘equivalence’ to suggest what these paintings stand for – and also what else they stand for. States of being, of transformation, wonder and joy emerge in the playfulness of these works. Perhaps this is where the titles of the paintings come from, referencing film actors in the pop tradition, but this is the only thing that did not ring true with the work, their titles. The use of this trope seems to me a bit facile given the nature of the work.

The hot pink painting ‘Rupert Grint’ (2008/2009, above) is hotter and lighter than in the photograph above, the varnish more translucent, the effect altogether mesmeric. You are drawn into the work, the intensity of the colour, the thickness of the hanging varnish. Two cosmological galaxies (‘Timothy Oliphant’ (2008) and ‘Matthew Macfadyen’ (2008)) surround the most complex painting in the exhibition, the darkness and light that is ‘Ryan Gosling’ (2008/2009, below).

 

Dale Frank. 'Ryan Gosling' (2008/2009)

 

Dale Frank
‘Ryan Gosling’
2008/2009

 

This painting is a tour de force. With the poetic structure of an oil spill, the varnish forms intricate slick upon slick contours that are almost topographical in their mapping. The black oozes light, becomes ‘plastic’ black before your eyes, like the black of Rembrandt’s backgrounds, illusive, illuminative and hard to pin down – perpetually hanging there in two dripping rows, fixed but fluid at one and the same time (you can just see the suspensions in the photograph above).

The painting reminds me of the black paintings of Mark Rothko that he undertook for The Rothko Chapel in Houston, Texas (see below). As with the Rothko paintings, this painting is not just black (physically there are swirls of purple as in the Rothko paintings), not about darkness at all. What both artists do is create a contemplative, transformative space  - in Frank’s case for a world on the edge of oblivion. This is a post post-modern landscape: process and nature, performance and chance coalescing in the colour : black!

This painting is one of the most overwhelming syntheses of art and nature, of universal forces that I have seen in recent contemporary art. This exhibition is an electric pulsating universe of life, landscape and transformation. Magnificent!

M Bunyan

 

The Rothko Chapel, Houston, Texas

 

The Rothko Chapel
Houston, Texas

 

 

Anna Schwartz Gallery

185 Flinders Lane
Melbourne 3000
Australia

+61 3 9654 6131

Tuesday – Friday 12-6pm
Saturday 1-5pm

07
Mar
09

Opening 3: Review: ‘Show Court 3′ and ‘Mood Bomb’ by Louise Paramor at Nellie Castan Gallery, Melbourne

Opening: Thursday 5th March 2009

Exhibition dates: 5th March – 28th March 2009

 

Boarding a train at Flinders Street we emerge at South Yarra station to stroll down to River Street for our third opening of the night at Nellie Castan Gallery. We are greeted by the ever gracious Nellie Castan who has just returned from an overseas trip to Europe where she was soaking up the wonders of Rome amongst other places.

For the latest exhibition in the gallery Louise Paramor is presenting two bodies of work: ‘Show Court 3′ and ‘Mood Bomb’ (both 2009). Lets look at ‘Show Court 3′ first as this work has older origins.
Originally exhibited in 2006 at Nellie Castan under the title Jam Session the sculptures from this exhibition and many more beside (75 in all) were then installed in 2007 on show court 3 at Melbourne & Olympic Parks, hence the title of the installation. In the smaller gallery in 2009 we have six Lambda photographic prints that are records of this installation plus a video of the installation and de-installation of the work.

 

Louise Paramor. 'Show Court 3 (II)' 2009

 

Louise Paramor
‘Show Court 3 (II)’
2009

 

Louise Paramor. 'Show Court 3 (VI)' 2009

 

Louise Paramor
‘Show Court 3 (VI)’
2009

 

While interesting as documentary evidence of the installation these photographs are thrice removed from the actual sculptures – the sculptures themselves, the installation of the sculptures on court and then the photographs of the installation of the sculptures. The photographs lose something in this process – the presence or link back to the referentiality of the object itself. There is no tactile suggestiveness here, no fresh visual connections to be made with the materials, no human interaction. The intertextual nature of the objects, the jamming together of found pieces of bright plastic to make seductive anthropomorphic creatures that ‘play’ off of each other has been lost.

 

 Louise Paramor. 'Show Court 3' (detail) 2009

 

Louise Paramor
‘Show Court 3′ (detail)
2009

 

Louise Paramor. 'Show Court 3' (detail) 2009

 

Louise Paramor
‘Show Court 3′ (detail)
2009

 

What has been reinforced in the photographs is a phenomena that was observed in the actual installation.

“The sculptures created a jarring visual disruption when placed in a location normally associated with play and movement. The stadium seating surrounding the tennis court incited an expectation of entertainment; a number of viewers sat looking at the sculptures, as though waiting for them to spin and jump around. But mostly, the exhibition reversed the usual role of visitors to place where one sits and watches others move; here the objects on the tennis court were static and the spectators moved around.” (2007)1

In the photographs of these objects and in the installation itself what occurs is an inversion of perception, a concept noted by the urbanist Paul Virilio.2 Here the objects perceive us instead of us perceiving the object: they stare back with an oculocentric ‘suggestiveness’ which is advertising’s raison d’être (note the eye sculpture above). In particular this is what the photographs suggest – a high gloss surface, an advertising image that grabs our attention and forces us to look but is no longer a powerful image.

 

Louise Paramor. Opening night crowd in front of 'Sky Pilot' (left) and 'Mama' (right) 2009

 

Louise Paramor
Opening night crowd in front of ‘Sky Pilot’ (left) and ‘Mama’ (right)
2009

 

Louise Paramor. Opening night crowd in front of 'Green Eyed Monster' (right) and 'Sky Pilot' (right) 2009

 

Louise Paramor
Opening night crowd in front of ‘Green Eyed Monster’ (right) and ‘Sky Pilot’ (right)
2009

 

Louise Paramor. Opening night crowd in front of 'Pineapple Express' 2009

 

Louise Paramor
Opening night crowd in front of ‘Pineapple Express’
2009

 

In the main gallery was the most interesting work of the whole night – experiments of abstraction in colour “inspired by the very substance of paint itself.” Made by pouring paint onto glass and then exhibiting the smooth reverse side, these paintings are not so much about the texture of the surface (as is Dale Frank’s work below) but a more ephemeral thing: the dreamscapes of the mind that they promote in the viewer, the imaginative connections that ask the viewer to make. Simpler and perhaps more refined than Frank’s work (because of the smooth surface, the lack of the physicality of the layering technique? because of the pooling of amoebic shapes produced, not the varnish that accumulates and recedes?) paint oozes, bleeds, swirls, drips upwards and blooms with a sensuality of intense love. They are dream states that allow the viewer to create their own narrative with the title of the works offering gentle guides along the way: ‘Girl with Flowers’, ‘Lovers’, ‘Mood Bomb’, ‘Emerald God’, ‘Mama’, and ‘Animal Dreaming’ to name just a few. To me they also had connotations of melted plastic, almost as if the sculptures of Show Court 3 had dissolved into the glassy surface of a transparent tennis court.

 

Louise Paramor. 'A Dog and His Master' (detail) 2009

 

Louise Paramor
‘A Dog and His Master’ (detail)
2009

 

Louise Paramor. 'Lovers' 2009

 

Louise Paramor
‘Lovers’
2009

 

Dale Frank. 2005

 

Dale Frank
’2. One conversation gambit you hear these days: ‘Do you rotate?’ An interesting change of tack? No suck luck. ‘Do you rotate?’ simply fishes for information about the extent of your collection. Do you have enough paintings to hang a different one in your dining room every month?’
2005

 

Louise Paramor. 'Mood Bomb' 2009

 

Louise Paramor
‘Mood Bomb’
2009

 

Louise Paramor. 'Slippery Slope' (detail) 2009

 

Louise Paramor
‘Slippery Slope’ (detail)
2009

 

Louise Paramor 'Green Eyed Monster' (detail) 2009

 

Louise Paramor
‘Green Eyed Monster’
(detail) 2009

 

These are wonderfully evocative paintings. I really enjoyed spending time with them. A visit is highly recommended.

 

 

Nellie Castan Gallery
level 1 12 river street south yarra 3161
hours 12pm – 5pm tuesday – sunday
phone +61 9804 7366
Web: www.nelliecastangallery.com

 

1. O’Neill, Jane. Louise Paramor: Show Court 3. Melbourne: Nellie Castan Gallery, 2009.
2. Virilio, Paul. The Vision Machine. (trans. Julie Rose). Bloomington: Indiana University Press, 1994, pp.62-63.   




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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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