Archive for the 'Fredrick White' Category

10
Aug
12

Marcus Bunyan black and white archive: within, 1992/4

.

The titles from this period tend to be poetic, pragmatic or composed, like Japanese haiku. The two photographs How will it be when you have changed and Tell me your face before you were born (1994, below) were included in the seminal exhibition Don’t Leave Me This Way: Art in the Age of AIDS’ at the National Gallery of Australia in 1994. The floater (1992-94) is one of the best black and white photographs I ever took.

I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

.

.

.

Marcus Bunyan
Gryphon, Luna Park, St Kilda
1992-94
Silver gelatin photograph

.

.

Marcus Bunyan
Paul, Windsor railway station
1992-94

.

.

Marcus Bunyan
Night, Windsor
1992-94

.

.

Marcus Bunyan
The dusty city
Stillness
blossoms and mist within
1992-94
Silver gelatin photograph

.

.

Marcus Bunyan
Afterlife
1992-94

.

.

Marcus Bunyan
The face of man
in the surface of Moon
blinks
1992-94
Silver gelatin photograph

.

.

Marcus Bunyan
How will it be when you have changed
1994
Silver gelatin photograph

.

.

Marcus Bunyan
Tell me your face before you were born
1994
Silver gelatin photograph

.

.

Marcus Bunyan
The floater
1992-94
Silver gelatin photograph

.

.

Marcus Bunyan
Keyhole, Source, Form No. 1, Fredrick White
1993
Silver gelatin photograph

.

.

Marcus Bunyan
Gryphon and palms, St Kilda
1992-94
Silver gelatin photograph

.

.

Marcus Bunyan
Untitled [divinity]
1992-94
Silver gelatin photograph

.

.

Marcus Bunyan black and white archive page

LIKE ART BLART ON FACEBOOK

Back to top

19
Jan
12

marcus bunyan black and white archive: self-portraits and nudes, 1991/2

.

I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

.

.

.

Marcus Bunyan
Self-portrait in Punk Jacket
1991/2

.

.

Marcus Bunyan
Marcus Sucking His Thumb
1991/2

.

.

Marcus Bunyan
Marcus in his Punk Jacket, Punt Road, South Yarra
1991/2

.

.

Marcus Bunyan
Marcus as The Fool (posing for the sculptor Fredrick White)
1991/2

.

.

Marcus Bunyan
Nude, in the Flat, Rear of Derelict House, 455, Punt Road, South Yarra
1992

.

.

Marcus Bunyan
Nude on Floor (with Clifford Last)
1992

.

.

Marcus Bunyan
Nude on Couch, Punt Road, South Yarra
1992

.

.

Marcus Bunyan
Nude on Couch, Punt Road, South Yarra
1992

.

.

Marcus Bunyan black and white archive page

Back to top

28
Oct
11

Sculpture: ‘Everything’ by Fredrick White, 2011

.

A new sculpture by my friend Fredrick White is appearing in the Lorne Sculpture Prize which opened on the 16th October and continues until 5th November, 2011. The work continues the artist’s exploration into the matrix of what is seen and not seen, what lies above and below. Please click on the photographs for a larger version of the image.

.

.

.

.

.

Fredrick White
Everything
2011
steel
210 x 120 x 250cm

.

.

Fredrick White Sculpture website

Back to top

12
Oct
11

Artist talk: Fredrick White

.

Australian sculptor Fredrick White talks about his sculpture Lifespan (2010) in Blackall, Western Queensland.
Video from Symposium on Public Art in Non Urban Contexts, 25-27th August 2011.

.

.

.

.

Fredrick White website

Back to top

01
Oct
11

Marcus Bunyan black and white archive: portraits 1991/2

Portraits, South Yarra, Melbourne

.

I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

.

.

.

Marcus Bunyan
Andrea with long hair
1991/2

.

.

Marcus Bunyan
Andrew in the flat, Punt Road, South Yarra
1991/2

.

.

Marcus Bunyan
Fredrick White, Weapon-Maker
1991/2

.

.

Marcus Bunyan
Fred my brother
1991/2

.

.

Marcus Bunyan
Fred smiling in the flat, Punt Road, South Yarra
1991/2

.

.

Marcus Bunyan
Fred’s hands
1991/2

.

.

Marcus Bunyan
Jerry, Bent Metal, Punt Road, South Yarra
1991/2

.

.

Marcus Bunyan
Jerry, Bent Metal, Punt Road, South Yarra
1991/2

.

.

Marcus Bunyan
Brent in the backyard
1991/2

.

.

Marcus Bunyan
Lawrence in the kitchen, Punt Road, South Yarra
1991/2

.

.

Marcus Bunyan
Lawrence with strainer
1991/2

.

.

Marcus Bunyan
Portrait of Lawrence
1991/2

.

.

Marcus Bunyan
Fredrick White
1991/2

.

.

Marcus Bunyan
Yvonne Kendall
1991/2

.

.

Marcus Bunyan
Lawrence sleeping
1991/2

.

.

Marcus Bunyan
Untitled (Lawrence clasping his arms to his back)
1991/2

.

.

Marcus Bunyan black and white archive page

Back to top

17
Aug
11

The Museum of Old and New Art (MONA), Hobart

.

“Lyotard writes,”We must not begin with transgression, we must immediately go to the very end of cruelty, construct the anatomy of polymorphous perversion, unfold the immense membrane of the libidinal ‘body,’ which is quite the inverse of a system of parts.” Lyotard sees this “membrane” as composed of the most heterogeneous items: human bone and writing paper, steel and glass, syntax and the skin on the inside of the thigh. In the libidinal economy, writes Lyotard: “All of these zones are butted end to end … on a Moebius strip … a moebian skin [an] interminable band of variable geometry (a concavity is necessarily a convexity at the next turn) [with but] a single face, and therefore neither exterior nor interior.”

Jean-François Lyotard quoted in Victor Burgin. In/Different Spaces 1

.

“Taking a walk is also an extremely immediate form of experience. Serge Daney describes the act of perception while taking a walk: ‘Because I am not particularly fond of bravura pieces, I always need a transition from one thing to the next. And I am glad that I can find it through by body and experience of walking…”
The visual memory of the walker/viewer determines the sequence of the pictures. Since the 1960s Marcel Broodthaers has defined the exhibition as a cinematic sequence of pictures and objects, thereby subverting the fixity of the single object through recontextualisation.”

Serge Daney quoted in Hans Obrist. “In the Midst of Things, At the Centre of Nothing.” 2

.

.

Libidinal, Moebic MONA

My analogy: you are standing in the half-dark, your chest open, squeezing the beating heart with blood coursing between your fingers while the other hand is up your backside playing with your prostrate gland. I think ringmeister David Walsh would approve.

My best friends analogy: a cross between a car park, night club, sex sauna and art gallery.

Weeks later I am still thinking about the wonderful immersive, sensory experience that is MONA. Peter Timms in an insightful article in Meanjin calls it a post-Google Wunderkammer, or wonder chest.3 It can be seen as a mirabilia – a non-historic installation designed primarily to delight, surprise and in this case shock. The body, sex, death and mortality are hot topics in the cultural arena4 and Walsh’s collection covers all bases. The collection and its display are variously hedonistic, voyeuristic, narcissistic, fetishistic pieces of theatre subsumed within the body of the spectacular museum architecture.

The experience starts with the ferry ride from the wharf in Hobart to the museum – the only way to arrive. During the 20 minutes of the journey mental baggage seems to drop away as you look over the water to the industrial zinc works, pass under bridges and then the museum comes into view. Perched on a promontory of land the museum rises like a rusted ancient temple. After disembarking you climb a colossal staircase to the entrance of the museum, all angles and mirrored surfaces. You enter one of two Roy Grounds listed modernist buildings built in the 1950s – beautiful, crisp white spaces that house the shop and a cafe, cloakroom and inquiry desk where you collect your ‘O’, an iPhone-like device that tracks all the artworks that you look at. The are no didactic text panels in the museum freeing the viewer to just experience, all data such as artists names and educational information and the tit-bit Gonzo text being accessed through the ‘O’. Into the large enclosed forecourt space a spiral staircase with a circular lift in the centre descends into the abyss (an inspired piece of design) and your journey proper has begun. Three levels deep into the ground you travel, the space carved out of solid rock. Impressive.

The museum is the body and the artworks are the organs, fragments of the whole exhibition (that of the actual museum). The experience is very kinaesthetic as the body gets lost within the space of the gallery. We wandered like flaneurs among the darkened, cinema-like spaces, almost floating from one area to the next, discovering, feeling disorientated, following underground passages, tunnels and stairs, emerging into light and then descending into the abyss again. Hours passed. Like a Moebius strip there seemed to be no interior/exterior to the body. As Lyotard notes the membrane of the libidinal ‘body’ is composed of the most heterogeneous items: here was rock, steel, shit, bestiality, intestines, brain, touch, burial etc… the curating of the collection within the space “creating a safe space for the appreciation and consideration of seemingly extreme and subversive practices.”5

Into this space of controlled transgression, the carnivalesque mise-en-scène allow the artists to delve into the deeper and darker areas of the human condition: “as Anthony Everitt once said of Damien Hirst [to] ‘open up paths for the viewer into areas of experience which are not anti-moral or amoral but extra-moral… a world where bad taste is driven to the point of elegance and disgust is filtered into delight’.”6

While some of the works were spotlit in the darkened galleries, “this dramatic lighting working to decontextualize the art objects, evoking a crepuscular and “timeless” sense of space, out of which the individual pieces emerged,”7 there also seemed to be an affinity between the building itself and the artworks (relating to the concept of affinity in museum curation). The diversity of installation techniques made an acknowledgement of the institutionalizing processes part of the viewer’s experience of the show, disrupting a unified, totalizing presentation of these objects and their cultures as “exhibition.”8 The intertextual tableaux mixed a Damien Hirst spin painting with Egyptian sculpture, ancient artefacts with Fat Cars. The context of the objects and their relationship to each other and the architecture is how the works are “framed.” This device emphasises the aesthetic rather than information and encourages the viewer to think about the relationship between the artefacts, objects and contemporary works. These inventive arrangements create a meta-narrative that offers the possibility of multiple interpretations to the viewer, multiple truths. All of this undertaken as the body moves through the spaces of the gallery and gets “lost”. As Norman Bryson has observed, “Architecture is sensed primarily through the eye and through bodily movement, and these sensations also play a key role in the way in which the contents of museums make their impact.”9

While the items are not explicitly related in terms of subject, medium or style through unexpected confrontation the works spring to dissonant life. Most of the time. When this process doesn’t work the viewer is left a little flat feeling, and…. so? wandering from piece to piece becoming slightly disenchanted. Little of the work at MONA took me to new spaces; in fact some of it was pretty mediocre, including the very dated Sir Sidney Nolan Snake (1970 to 1972, see below) that is permanent ‘wallpaper’ and takes up a whole, beautiful gallery wall. The tri-screen video by Russian collective AES+F, the works by Anselm Kiefer and the ancient artefacts (most of all) were notable exceptions. The museum is not a place for prolonged concentration and contemplation. This is not really the point of the place. The whole museum is a sensory, immersive surprising experience that cannot be broken down to its parts. David Walsh’s collection does tick all the fashionable boxes: here a Juan Davila, there a Del Kathyrn Barton, now a Howard Arkeley as though his buyers have advised him on just what to buy, but it is his personal vision, his collection. You can’t argue with that.

On of the problems of lumping all of these works together is obvious: “Ancient objects whose meaning is lost to us, medieval utensils, Christian religious images, and art objects made by modern masters were reduced to one meaning – stylistic resemblances providing evidence of the essential nature of humanity.”10 In other words a return to the globalizing view of humanity evidenced by Edward Steichen’s MOMA world touring photographic exhibition of the 1950s ‘The Family of Man’. Conversely, when this strategy works well it promotes for the viewer different modes and levels of ‘interpretation’ through subtle juxtaposition of ‘experience’. As Emma Barker has observed, “we still need a curator to stimulate readings of the collection and to establish those ‘climatic zones’ which can enrich our appreciation and understanding of art… Our aim must be to generate a condition in which visitors can experience a sense of discovery in looking at particular paintings, sculptures or installations in a particular room at a particular moment, rather than find themselves standing on the conveyer belt of history.”11 Within this plastic space experience is paramount, allowing the viewer to develop their own reading without relying on the curatorial interpretation of history, setting new parameters for the relationship between viewer and object. As Barker notes such juxtapositions are a more natural strategy for a private collector than for a museum curator, with exhibitions and displays according to this dialectical principle happening with more frequency.12 The museum looses its fundamental didactic, educational purpose.

Other problems may also become evident. In a museum whose spectacular architecture was specifically designed for David Walsh’s collection it will be interesting to see how outside, touring exhibitions (such as the recently installed Experimenta Utopia Now exhibition) display in the space, especially given the psychosexual nature of his collection and its relationship to the building. If the quality of the temporary exhibitions is overwhelmed by the architecture, if the labyrinthine, enigmatic and layered nature of the space (all those floating bridges and the huge Void that can be seen in the photographs below) engulfs lesser works then it may well fall very flat.

At the end of the day we emerged into the afternoon light, expelled from the museum in a tidal wave of humanity, exhausted, satiated. Where else in Australia could you spend all day at a museum and not have seen enough? On flying home you can log into the MONA website to retrieve your ‘O’ tour, to see what art you liked and what you didn’t; what pieces you saw and all those that somehow you missed! The physical and its remembrance transported into the virtual.

.
Since Laura Mulvey’s essay of 1974 “Visual Pleasure and Narrative Cinema,” we have been aware of the voyeuristic and fetishistic character of our psychosexual relation to cinema. Engulfed in the dark cube, that psychosexual panorama, the cinematic labyrinth that is MONA has the viewer absenting themselves in front of the art in favour of the Eye and the Spectator.13 Spectatorship and their attendant erotics has MONA as a form of fetishistic cinema. It is as if what Barthes calls “the eroticism of place” were a modern equivalent of the eighteenth century genius loci, the “genius of the place.”
The place is spectacular, the private collection writ large as public institution, the symbolic power of the institution masked through its edifice. The art become autonomous, cut free from its cultural associations, transnational, globalised, experienced through kinaesthetic means; the viewer meandering through the galleries, the anti-museum, as an international flaneur. Go. Experience!

Dr Marcus Bunyan for the Art Blart blog

.

Many thankx to Delia Nicholls for all her help and to MONA for allowing me to publish most of the photographs in the posting (all except the top two and the one of us inside Babylonia that were taken by Fredrick White). Please click on the photographs for a larger version of the image.

.

.

.

.

Zinc works from the ferry on the way to MONA

.

.

MONA exterior, Hobart

.

.

3d schematic from the O, showing the levels and nodes indicating art works visited, MONA

.

.

The Void
February 2011
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

B1 walkway overlooking The Void
February 2011
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

Loop System Quintet/Untitled (stool for guard)

Left:
Taiyo Kimura (Kamakura, Japan, 1970)
Untitled (stool for guard)
2007
Mixed media, clothes, cd player, speaker

Right:
Conrad Shawcross (London, England, 1977)
Loop System Quintet

2005
Waxed machined oak, five light bulbs, electric motor and gearbox, drive shafts, cogs, universal joints, flange units, screws, bolts, nuts, washers

Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

Callum Morton (Montreal, Canada, 1965)
Babylonia
2005
Wood, polystyrene, epoxy resin, acrylic paint, light, carpet, mirror and sound
Photo credit: MONA/Leigh Carmichael 
Image Courtesy of MONA Museum of Old and New Art

.

.

Sculptor Fredrick White and myself inside Callum Morton’s Babylonia wearing the ‘O’

.

.

Portrait gallery
Various artworks by various artists
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

Masturbation. It is a source of endless irony to me that when I was young, and desperately in need of endless fucking, no one was interested in helping me out, whereas now, older and slower, I could fill even my desired adolescent quota. What saved me then was my right hand, even though I call myself left-handed. Surely the hand that you wank with (I guess John Holmes was ambidextrous) defines you just as much as the hand you write with? Anyway, who writes anymore? It’s so much easier to type. Mental masturbation allows me to pretend I’m a mental John Holmes, takes both hands. But no brains.

Art. I’m not at all sure that conceptual art and traditional art are the same thing. One can come from muscle memory, from pragma; at its best it’s not at all conscious. The former, though, is so self-aware it’s often targeting its own self-awareness. Check out the Hirst and the Pylypchuk at the other end of the gallery.

David Walsh 2011

.

.

Corten Stairwell
February 2011
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

Corten Stairwell & Surrounding Artworks
February 2011
Museum of Old and New Art – interior
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

The Nolan Gallery

Sir Sidney Nolan (Carlton, Victoria, Australia, 1917-1992)
Snake
1970 to 1972
Mixed media on paper, 1620 sheets

Jannis Kounellis (Piraeus, Greece, 1936)
Untitled

2002
Jute coffee bags, coal; three parts

Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

Erwin Wurm (Bruck an der Mur, Austria, 1954)
Fat Car
2006
Steel chassis and body; leather interior, with polystyrene and fibreglass
Photo credit: MONA/Leigh Carmichael
Image Courtesy of MONA Museum of Old and New Art

.

.

1. Lyotard, Jean-François. Économie Libidinale. Paris: Éditions de Minuit, 1974, pp.10-11 quoted in Burgin, Victor. In/Different Spaces: Place and Memory in Visual Culture. Berkeley: University of California Press, 1995, p.150.

2. Obrist, Hans Ulrich. “In the Midst of Things at the Center of Nothing,” in Harding, Anna (ed.,). Curating: The Contemporary Museum and Beyond, (Art & Design Magazine Profile No. 52), London: A.D., 1997, p.88.

3. Timms, Peter. “A Post-google Wunderkammer: Hobart’s Museum of Old and New Art Redefines the Genre,” in Meanjin, Vol. 70, No. 2, Winter 2011. pp.31-39.

4. Keidan, Lois. “Showtime: Curating Live Art  in the 90s,” in Harding, Anna (ed.,). Curating: The Contemporary Museum and Beyond, (Art & Design Magazine Profile No. 52), London: A.D., 1997, p.41.

5. Ibid., p.41.

6. Ibid., p.41.

7. Staniszewski, Mary Anne. The power of display: a history of exhibition installations at the Museum of Modern Art. Cambridge, Mass.: MIT Press, 1998, p.84.

8. Ibid., p.97.

9. Bryson, Norman. “A Walk for a Walk’s Sake,” in De Zegher, Catherine (ed.,). The Stage of Drawing: Gesture and Act. London: Tate, 2003, pp.149-58.

10. Staniszewski, op. cit. p.129.

11. Barker, Emma. “Exhibiting the Canon: The Blockbuster Show,” in Barker, Emma (ed.,). Contemporary Cultures of Display. New Haven and London: Yale University Press, 1999, p.55.

12. Ibid., p.45.

13. O’Neill, Paul. “The Curatorial Turn: From Practice to Discourse,” in Rugg, Judith and Sedgwick, Michèle (eds.,). Issues in Curating Contemporary Art and Performance. Bristol: Intellect, 2007, pp.13-28.

.

.

Museum of Old and New Art
655 Main Road Berriedale
Hobart Tasmania 7011, Australia

Opening hours:
Daily 10am – 6pm

MONA website

Back to top

17
Feb
11

Sculpture: ‘Before The After’ (2010) by Fredrick White

.

Another beautiful new sculpture by my friend Fredrick White that will be appearing in the Montalto Sculpture Prize that opens this weekend at 33 Shoreham Road, Red Hill South, Victoria and continues until 1st May, 2011. The work has great presence and continues the artist’s exploration into the matrix of what is seen and not seen, what lies above and below. Please click on the photographs for a larger version of the image.

.

.

.

.

.

Fredrick White
‘Before The After’
2010
steel
220 x 105 x 95cm

.

.

Fredrick White Sculpture website

Bookmark and Share

25
Sep
10

New Fredrick White Sculpture website launched

.

Finally I got my act together and made Fred a new website! Hopefully this will display his sculpture to better effect with larger images and a clean design. He has also created a new sculpture titled ‘Undergrowth’ (2010). Enjoy!

.

.

.

Fredrick White Sculpture website

.

.

Fredrick White
‘Undergrowth’
2010
60 x 50 x 50cm

.

.

Fredrick White
‘Undergrowth’
2010
60 x 50 x 50cm

.

.

Fredrick White Sculpture website

Bookmark and Share

29
Jul
10

Review: ‘Lifespan’ (2010) by Fredrick White

.

This is sculptor Fredrick White’s second public commission in Queensland. The sculpture ‘Lifespan’ (2010) is located at Blackall in Western Queensland (see Google map). The work is 8 metres long. Blackall already contains public sculptures by William Eicholtz (‘Towners Call’ – Edgar Towner V.C. Memorial (2009)) and Robert Bridgewater (‘Wool, Water and Wood’ (2008)).

Please click on the photographs for a larger version of the image.

.

.

.

Fredrick White
‘Lifespan’
2010

.

.

Sculptor Fredrick White sitting in front of his sculpture ‘Lifespan’ (2010)

.

.

“And do you know what “the world” is to me? Shall I show it to you in my mirror? This world: a monster of energy, without beginning, without end; a firm, iron magnitude of force that does not grow bigger or smaller, that does not expend itself but only transforms itself; as a whole, of unalterable size, a household without expenses or losses, but likewise without increase or income; enclosed by “nothingness” as by a boundary; not something blurry or wasted, not something endlessly extended, but set in a definite space as a definite force, and not a space that might be “empty” here or there, but rather a force throughout, as a play of forces and waves of forces, at the same time one and many, increasing here and at the same time decreasing there …”

Frederick Nietzsche, The Will to Power.

.

Fredrick White’s sculpture has always been about flows and extrusions – the movement of energy both visible and invisible, above and below ground, inside and outside the body – an exploration of some giant vascular system of which we are all part. Sculptures sprout from manhole covers (‘Manwhole’ 1999), welling up from the hidden system of pipes and passageways that run under the earth; coffin-like boxes hover in suspended animation over the ground, anchored by pipes that disappear into the earth (‘Universal Attachment’ 2000); ectoplasmic, ethereal substances emit in ‘Time Being’ No’s 1, 2 and 3 (2002). In recent work ‘From Life To Life’ (2007), ‘Drawing Water’ (2010) and ‘Lifespan’ (2010) these connections are even more intimately linked to the life cycle and the essential place of water in the scheme of things:

“I am interested in the stuff that holds us together, the dominant paradigms of human life, our reliance on the Earth and each other. There is no separation between anything – birth/death, above/below, past/future – all are part of the life cycle of living things. The life cycle is the main motif of my practice and is a manifestation of my Piscean nature.”

.

White’s hyper-textural work flows from one link to another, from one connection to another. His text is a body without organs, always moving between the visible and the invisible webs that connect us. As so a rhizome, so the work of White: there is no hierarchical trunk, no beginning and no end, for White’s work is multiple, lateral, circular.

Using the language of Deleuze and Guattari (‘A Thousand Plateaus’, 1980), White’s assemblages (for that is what they are), “are the processes by which various configurations of linked components function in an intersection with each other …” In these assemblages the process of territorialization intensifies and the assemblages, “can be thought of as constituted by an intensification of these processes around a particular site through a multiplicity of intersections of such territorializations.”1

In White’s assemblages there is no language of itself. The rhizomic nature of their being produces an unconscious connection to all things: his work fosters connections, offers multiple entryways, detaches and modifies new cultural forms. Above all White’s work offers a new map for us to cultivate the soil of living, the site of his intersections extruding form in a vibrant intensification of energy.

Marcus Bunyan for the Art Blart blog

.

.

.

Fredrick White
‘Lifespan’
2010

.

.

“Lifespan is made predominantly from recycled bore casing, a material chosen to suggest the language of plumbing as a conduit for dialogue on the theme of water.

The end sections of the work, like a hydro-electric scheme, rise from the ground and start crossing over. This form whilst inspired by the braided channels of Western Queensland is also about life in general; paths that converge or momentarily cross over, then towards the end of life, like the beginning, level out to a new time for experiencing.

The vertical pipes reference the artesian bore system that provides the main reliable source of water here. In this scenario, the top of the pipes are the surface of the Earth and the pipes bore into the ground to tap into the aquifers deep below in the Great Artesian Basin.

We are here because of the Earth and water is the primal substance that is the source of all life, in fact the artesian water of Australia is in places as old as humanity itself; the perfect symbol of the past, present and future.”

Fredrick White 2010

.

.

Fredrick White
‘Lifespan’
2010

.

.

Fredrick White
‘Lifespan’ (detail)
2010

.

.

1. Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p.166.

.

Fredrick White website

Bookmark and Share

24
Jun
10

Sculpture: ‘Drawing Water’ (2010) by Fredrick White

.

My best friend, Australian sculpture Fredrick White, has been commissioned to create two public sculptures in Western Queensland. The first has been completed at Thargomindah (see Google map), a town located 1014 km west of Brisbane and was commissioned by artplusplace and Thargomindah Regional Council. In a small town of 250 people this is the town’s first public sculpture.

“The town’s one claim to fame is its artesian bore. The bore, which lies 2 km out of town on the Noccundra road, was drilled in 1891 and by 1893, having drilled to a depth of 795 metres, the water came to the surface. It was then that the town successfully attempted a unique experiment. The pressure of the bore water was used drive a generator which supplied the town’s electricity. Enthusiasts have described this as Australia’s first hydro-electricity scheme. The system operated until 1951. Today the bore still provides the town’s water supply. The water reaches the surface at 84°C.”

Text from the Sydney Morning Herald travel website

.

The work ‘Drawing Water’ (2010) addresses the need for water in such an arid location and the numerous bores that are sunk around the town to draw water to the surface. The earth is reflected in the sky and the sky in the earth in the central polished stainless steel disks (as friend Perry observes, like a tunnel connecting earth and heaven). A forest of bore pipes surround the central platform. Of the work Fred says:

“Drawing Water speaks of our connection to the Earth, specifically the Great Artesian Basin and the bores that provide the only continuous source of water throughout much of inland Australia. The 52 galvanised poles symbolise not only our year round need for water but are also as a reminder of how extensively taped the artesian water is.”

.

It is a wonderfully balanced and thoughtful work that has great presence and beauty.

The next commission is at Blackall in Western Queensland (see Google map). A drawing of the work ‘Lifespan’ (2010), which is 8 metres long, is at the bottom of the posting. Blackall already contains public sculptures by William Eicholtz (‘Towners Call’ – Edgar Towner V.C. Memorial (2009)) and Robert Bridgewater (‘Wool, Water and Wood’ (2008)).

.

.

.

Fredrick White
‘Drawing Water’
2010

.

.

Fredrick White
‘Drawing Water’
2010

.

.

.

.

Fredrick White
‘Drawing Water’ (details)
2010

.

.

Fredrick White
‘Lifespan’
2010
drawing for commission at Blackall, Queensland

.

.

Fredrick White Sculpture website

Bookmark and Share




Join 1,003 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

For photographic services in Australia, Art Blart highly recommends CPL Digital (03) 8376 8376 cpldigital.com.au/

New work: ‘upside, down’ (2013) by Dr Marcus Bunyan

Recent Posts

Lastest tweets

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.

April 2014
M T W T F S S
« Mar    
 123456
78910111213
14151617181920
21222324252627
282930  

Archives

Categories


Follow

Get every new post delivered to your Inbox.

Join 1,003 other followers