Sunday 30 October 2011

Reko RENNIE - “Neo Geo”


The back gallery has three large canvases printed with equilateral diamonds in 2-3 different colours dispersed with foil to give a shiny texture. The centrepiece being a large spray-can with a pattern on the label that complements and is the reverse of the background. The spray-can is printed in a bronze colour that defines it from the background.

In the centre of the room are three totem poles of bronze spray-cans. They where etched in a similar fashion to the screen-printed image on the paintings. They spoke for themselves standing like ancient forms with engraved script to be rediscovered in years to come.

“Black Magic” was a neon sign in the corner. It lured me and could be pictured on a lonely stretch of road in inland NSW on a dark night. Driving past paddocks and silent bush. This sign appears in neon colours as a symbol of power and presence in a colonised exterior.

The bio tells me that the diamond pattern used in on the canvases is a traditional use of the Kamilaroi indigenous heritage that Rennie is from. I am also informed that the name of the exhibition “Neo Geo” or Neo-Geometric Conceptualism relates to a New York art movement in the 1980’s. l discovered that it was a movement that was a mix of conceptional, graffiti and pop art. These forms can be seen in these paintings.

My first impression of the canvases for me where almost like pop art signs or advertising. The diamond pattern with the foil drawing me towards the spray-can like a psychedelic vortex. To me, the spray –can represented his tool of language in contemporary Australia. He was also drawing on his heritage by the traditional use of scribing and marking represented in contemporary form by use of screen print. All three pieces where titled “Message Stick” and differentiated by a colour. I missed the fourth piece, which was hanging in the front of the gallery.

On until 5NOV.

Glenn SLOGGETT – “Filthy”


These series of photographs by artist Sloggett are both humorous and sad in a strange contradictory way. As aptly stated on the catalogue, it’s a white trash lost love story. There are no niceties here,  these are the working class and poor suburbs. You couldn’t tell where the photos have been taken, as the locations have no obvious landmarks. It is irrelevant to the photographs as they could be in any Australian suburb.

I’m a big fan of photography that explores contemporary Australian life from a working class perspective. It’s real, nasty and existing. I also relate to it living in the western suburbs of Melbourne where things aren’t always pretty and lattes aren’t corner regularity. You have to find humour and oddity to make the grind bearable.

One of my favourite photographs is “Not quite right” which is an image of a sign from retailer NQR selling discount pavlovas which is emblematically Australian. “Throw Syringes in the Bin” was a photograph of a sprayed sign on a disused building brick wall with arrows pointing towards both a boarded up window and a roller door. 

I believe it’s important that suburban life is documented and it would be interesting to see a particular area photographed over a period of time as people move and change the surroundings. There is always something in a suburb to document whether it be subtle or unseen. Sloggett has found his niche in contemporary Australian photography.

Ends 29th of October.


Tuesday 25 October 2011

Patricia TODARELLO – “Marking Time”

The new instalment of Todarello’s latest installation is quite subtle and simple put in its own context. 

“Marking Time” is a continuation of her work, which explores the often-unseen nuances of architecture. Todarello has created pieces of work that at first glance could be misconceived as simple. It is necessary to spend the time to view each work and to view it from different angles within the space. 

On the main wall there are three squared of pieces made and cordoned off with masking tape. Within the boarded tape is tape that has been attached horizontally and continued down to form a square. It has also been taped over in layers that create depth. The work is then painted over with acrylic white paint in both matte and gloss. There are many textures created and a subtlety formed that gives the viewer almost a two-dimensional feel. I felt after spending some time there l could appreciate the nature of the work. The white paint was highly effective in catching my eye and encouraging me to explore the work again.

On the opposing side was three works of photographic paper with masking tape holding it up by the middle of the paper. This meant that the top and bottom of the paper was unattached and collapsed on itself with the tape in the middle of the work being the anchor. There was layer upon layer of tape then painted over with white.

Each piece is unique and the artist tells me that she uses various masking tape. The tape can be types of yellow and can adhere differently. The texture can vary once the tape has been painted over. I would say this gives the works the difference in each, as the variable can be unpredictable.

For me this set of works is a working visual diary. I find it interesting that she creates these works directly on the wall so they can never be recreated and aren’t tangible like traditional artwork. The only documentation is the photos. Once the exhibition is over, the result will be layers of tape with paint left deserted.  This is reminiscent for me of when you paint a house and you cover the window edges with tape to avoid the paint. Once you remove the tape, its use is null and void and cannot be reused. I would be interested to see the documentation of the de-installation, masking/marking and end of time.

The exhibition was on for two days only, you can view the work on Todarello’s website or contact the artist to make an appointment.