political – Art Blart _ art and cultural memory archive

December 2017

Marcus Bunyan (Australian, b. 1958)
Untitled from the series The Shape of Dreams
2013-2017
Silver gelatin print
© Marcus Bunyan

In conversation

EG: Just saw your most recent Art Blart and your work. It’s very beautiful. Congratulations. At first I didn’t know whose they were. Then I went through them one by one, and only after responding to them ‘unknown’ I saw it was your work. SO BEAUTIFUL, so potent and yet, within the ambivalence and questioning there was space for great stillness and contemplation. Powerful and so poetic. The one of the children, close up is dazzling, but so are the open fields, mountains, roadways and minute images of flight.

MB: Thank you so much Elizabeth. Yes, my work would you believe. I can now believe after 4 years hard work. A poem to the uncertainty of human dreams. It’s a conceptual series in the vein of my hero Minor White – contemplative, poetic as always with me, but with an edge under the poetry as you so correctly observe EG – you are caught in the dream in the end image, suspended in time and space, in your imagination. You are always so spot on with your observations.

EG: Your own tendency is also closely linked to language and ideas?

MB: This is very true. The basis for all my work is body, time, space, environment and their link to language and ideas… and how conceptual work can be spiritual as well.

EG: I’m with you on that one, and political as well.

MB: Indeed – all my work, including this series, is very anti-war.

EG: What is unseen, invisible in these images is definitely the dark quiet hole of hell that war is. Or at least those that invest in it.

MB: The key image in this regard is the one of the explosion.

EG: But the ones of the distant and misdirected aerial machines also…

MB: Indeed, and the second one, where all the men are looking away while the cloud expands in the background.

EG: Yes, the casual indifference and banality of it.

MB: You have it perfectly Elizabeth!

EG: But the children, oh those children, and the innocent implacability of the natural world.

MB: To find these images on Ebay and then spend four years of my life cleaning and saving them was an incredible experience. It was almost like I was breathing these images as I was saving them, looking into each one and being immersed in them. Thus, the art demands contemplation from the viewer in order to begin to understand its resonances.

Many thankx to Elizabeth Gertsakis for her wisdom, knowledge, friendship and advice throughout the year. These observations of my work mean a great deal to me.

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