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.

http://rekorennie.com/

http://www.diannetanzergallery.net.au/

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 29^th of October.

http://www.colourfactory.com.au/

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.

http://studio1projects.blogspot.com

Lucreccia QUINTANILLA - "Discoteca Galaxias"

I interviewed Lucreccia Quintanilla for her past exhibition "Discoteca Galaxias" at No No Gallery.  Enjoy.

Q1. I was interested in the connection of your previous show at Techno Park and this show at No no gallery. The cellophane from the ceilings and cables where also at Techno Park, are you continuing a theme?

This year I have been looking at the party, or the event as an aesthetic space. Thinking of the dancing, the music and all that preparations that take place before the party.  

Having been involved in organising music events and many a party in some ways I am indirectly drawing a parallel to the setting up of an art show.  

Q2. Tell me about the video work showing the people dancing. It looked to me to be a recording from the 1980's showing the spontaneity of street dancing in a disco environment. 

That video is from the 90's actually. Its been filmed using 80's equipment which gives it that look.  Oh and the hair do's are very 80's.  

The video is of a party in Jocoro El Salvador which is a small town in El Salvador.  One thing about the video is that the dancing is first class, cumbia meets break dancing.  

I spent a great part of my childhood in Jocoro with my grandmother.  I have a pretty strong connection to Latin American music and now and then I find myself searching for it on youtube which is how I found this video.  I automatically recognised the whole aesthetic of the place the decoration and even the colour of the walls the whole thing was familiar to me. 

Q3. The music that was playing sounded like it was being heard outside a venue and the bass thumped through ,was this reflecting the past present of a discoteca? 

It is somehow comforting to me to hear runaway bass coming out of a distant party.  There are a lot of theories about the appeal of the bass frequency for example that it echoes the Big Bang that created our planet.  That it reflects of our own heartbeat.  I love to dance to bass heavy music and when I DJ it is the music that get the dance floor going. So perhaps in some ways to me adding it to the installation as a sound element makes complete sense somehow.  I think that my personal identification with it comes from trying to get to sleep during family gatherings when after a few warm up drinks somebody would turn on the music in the lounge room to get the party started!

Q4. Your green foam that you added to the existing brickwork between the two spaces, was this to connect the two..Were the gouache and collage on paper peices remanents of the event or are they conceptual dance moves on paper ?

I am glad you read the collages that way because I was trying to make the process of constructing them as improvisational as possible.  Which is how one dances really. I wanted to give them the least thought in terms of composition as possible.  

As for the brick foam,  yes I was thinking of how to bring that crumbling brick wall into participation so I decided to fill some of the gaps with the florist foam bricks which are a perfect brick size.  They are green which aesthetically fitted the collages and the installation work.  It was great how people felt compelled to poke their fingers into the squishy foam.  And it was not just children who could not help themselves,  there were plenty of adult sized finger marks in there as well! 

Q5. Will your next exhibition be site specific and continue with this theme?

 I am trying to work away from the static party...But I think that responding to the space in which I work is always going to be important to me.

http://lucrecciaquintanilla.tumblr.com/

http://rodarodasoundsystem.blogspot.com/

http://nonogallery.org/

Tom NICHOLSON -"Drawings and correspondence"

I really enjoy the space of Anna Schwartz for its shape and high ceilings. It also works having no natural light only what comes through the front entrance.

The new works by Tom Nicholson are well viewed in this space. A cave is required to display these pieces. I needed to do a few laps of the gallery to comprehend these artworks. They look to me to be large paper varying in size of silhouettes rubbed into black charcoal.  The figures are primitive and reminiscent of aboriginal rock art. The artist repeated the motif throughout the pictures. You could call it Contemporary Rock art, which excludes the surface of rock and ochers. At first impression, l was unsure of its significance due to the material and location.

After some contemplation and a read of the catalogue, l had a better understanding of these images. It seemed that this was the result of research that the artist undertook. The correspondence that the artist alluded to as part of the title seemed necessary to draw the whole work together. I did want to read more of the catalogue as it was like a diary of process that resulted in a visual end. The historical Melbourne aboriginal  and colonial reference really draws me to the research rather than the actual pieces.

I did find the the correspondence in the catalogue a little fragmented. I also found that l was disconnected from the artwork. I felt as though the artist was representing the work as though it was a extinct ancient culture. That said,  Nicholson did acknowledge the Wurundjeri people and the struggle that still exists today. I think ultimately the images where a result of his research but the substance of work could be found in the correspondence. 

Well worth a look and be sure to pick up a catalogue.

http://www.tomn.net/

http://www.annaschwartzgallery.com/

Street Art - FOOTSCRAY

In the past month, l haven’t had the chance to do my regular gallery hops. I have however, discovered the slow evolution of street art in my own neighbourhood. There has always been great graffiti along the Western Suburban train lines. In the past few months, the streets of Footscray are slowly transforming with stencils, paste-ups and sprays. It’s refreshing to see although the street cleaners remove it quickly. Unless you’re like Baby Gorilla who chooses elevated positions for her work. It does depend where you go and seems the main streets are unpopular with street cleaners. Like Lego man who has chosen quite an obvious wall that crosses the main street and seems untouched…thankfully.

The most recent contribution to the street art scene is these stickers l have noticed on electricity boxes. They are A5 size and have actually been hand drawn with black felt pens. The subject is the most fascinating, as they are portraits of local people you see around the streets. That being the woman who lies under the ATM machine asking for money. There is also the old guy who hangs outside the Hong Kong BBQ restaurant asking for cigarettes. Or the AC/DC dude on his electric scooter. These stickers are simply portraits of the characters around Footscray. It looks to be the same artist who also uses the stickers against existing graffiti, which is quite clever.

So if you’re ever in the area, just look a little bit closer at the streetscape particularly near the Footscray Market. You will no doubt bump into a character.    

You can see more on the below link.

http://www.flickr.com/groups/1058861@N21/

Chantal WYNTER and Craig COLE - 57 Irving Street

This is the second instalment of my project at 57 Irving Street which is in collaboration with Craig Cole, also a local Footscray artist.

I have continued to use text in each of the four windows. Every individual poster has common statements used by the various characters throughout Footscray.

We are all familiar with the recognizable faces in Footscray such as Nick, the Olympic Doughnut man, Kevin at the coffee shop, Franco Cozzo, the gang at Footscray’s Best and so on. We are exploring the infamous characters that can be seen and heard daily around Footscray. We have approached this through a comic book theme, which embodies these daily remarks and observations.

These posters are designed to encourage the passer by question the greater community known as Footscray.