GALLERY 1 + 2
Beginning with word associations such as nuance, essence, boundaries and shadows each of the 11 artists in the Silhouette exhibition has realised their own understanding of the concept of a silhouette.
For Alex Asch the Alphabet City of the 80’s had its own mythology; a desolate wasteland populated with crack heads and artists who lived in the crumbling brick buildings. It was medieval in comparison to the metropolis, which shrouded its silhouette.
Alexander Boynes’ work is concerned with the ongoing strength and significance of the figure in our visual culture, reflecting how we see ourselves and our perceptions of this country’s shared past. Similarly Cherylynn Holmes reflects on our place and time, our strength’s and vulnerabilities.
Working with fibre and cloth gives Daniel Edwards the opportunity to piece and weave ideas and memories together. His work is a way to play and imagine a reality that was, that might have been, or that could be.
Gerald Jones highlights the border between the positive and the negative of the figure within the space. While Jason Smith repeatedly and perhaps obsessively renders a solitary figure in environments and prefers ‘detail’ to remain allusive.
The narrative plays a central role in Julie Bradley’s art practice with her images acting as a vehicle for her own personal story and experiences. Shapes and silhouettes form the basis of her complex compositions.
In the wall-works of Louise Saxton she pays homage to the natural history painter of the 19th century John James-Audubon and to his wife Lucy, without whom his life’s work, ‘The Birds of America’ would not have been accomplished.
Spike Deane’s pieces are inspired by the fiction subgenre ‘urban-fantasy’; where folk tale creatures dwell in city streets, a glimmer of enchantment enters the everyday. The silhouette, like any good tale, fires up the imagination by requiring us to flesh out the detail from our own store of memory and dream
The works Atmospheric Lustre and Humming Along by Diane Broomhall are constructed out of colour and time and substance. They talk about the little things, the materiality of paint and how it feels. She has developed a way of working with paint that crosses through drawing, clay work and painting.
Dianna Wells is referencing the photographic ‘typologies’ of industrial building forms, created by Bernd and Hilla Becher. Play forms photographically poses cultural; social and environmental comparisons with children’s play equipment in Australia and Sri Lanka.
While working in disparate disciplines, the selected artists in the Silhouette exhibition have produced a vibrant and diverse body of work unified by each artist engaging with ideas and interpretations of shadows and outlines. An unexpected connection between the artists is geographic with all the artists having a connection to Canberra and most of the artists graduating from the Canberra School of Art.