(black and white slides are in order that the artist appears below) click to enlarge
Photographs (b+w) by Peter MacCallum
Venture
Down The Garden Path
May 14 - October 15, 1982
Gerhard
Harpe
Y=X2
If one follows this
lyric curve to its logical conclusions, its shape would extend beyond
the limits of the tile and stretch towards infinity. Harpe has used
real objects to explore the unreal, to make the connection between the
concrete and the abstract, and to produce an experience which connects
the viewer to an unknown deity beyond the finite boundaries of the sculpture.
Text by Rina Greer
Gerhard
Harpe, Y=X2, 1981; terra cotta
tile, steel rope; 25' x 50'
John McKinnon
Topography of a Deer
Artist
Statemtent
This
linear steel construction is composed of distinct passages that combine
to form an expressive open-ended narrative. The title provides an entry
into the semi-abstract world depicted by the associative shapes: symbols
of structure, sanctuary and life force. These notions form the critical
content within the descriptive line and without, where space is an active
part of the sculptural vernacular.
John
McKinnon, Topography
of a Deer, 1982; steel; 9' x 16' x 12'
Ted Rettig
Chairs II
Two
pieces of furniture taken from their usual context, altered in scale
and in function by being hung on a wall, become a sculptural statement.
The chairs reflect an archetypal duality through the united, yet irreconcilably
different, dark and light sides of the work. Two independent principles
unified through structure allow the image to remain open-ended.
Text
by Rina Greer
Ted
Rettig,
Chairs II, 1982; wood, graphite; 2.5' x 10' x 1.2'
Judith Schwarz
House Within A House
Artist
Statemtent
Although
the sculpture is rendered familiar by the lattice, it is unlike the
vernacular garden structures it references. It is non-functional. While
the opening suggests entry, the scale denies physical access. Instead,
the viewer must project into the experience of the centre. By this play
of real and imagined space, House Within A House is a metaphor
for the brain within the body.
Judith
Schwarz, House Within
A House, 1980; wood lattice, paint; 4.3' x 4' x 3.5'
Brian
Scott
Goodbye/
Long
Story, Short Memory
Artist
Statemtent
Reminiscent
of temples and burial boxes, these two works seek to commemorate an
end; 'the end of what' is not apparent. In so doing, my intention is
to elicit the experiences and memories of the viewer to bring reference
and make sense of these monuments. These pieces are meant to be experiences
in themselves while alluding to and sustaining memories of other things.
They attempt to contain the memorial in the monument while subtly questioning
the value of sacredness, reverence and the significant object.
Brian
Scott,
Goodbye, 1981; mild steel, stone; 4.3' x 3.3' x 2'
Brian
Scott, Long
Story, Short Memory,
1981; mild steel, stone; 3' x 3.5' x 1.5'
Patrick
Thibert
Lambeth Run
Artist
Statemtent
This
work is one of a series of sculptures in which I was investigating the
table as image and as structure. The series focuses on the understanding
of the image with its associations (domestic, business social) and on
what happens to that response when scale, structure and materials are
changed.
In
Lambeth Run, the viewer's notions of the table are pushed to
the limit as a result of the placement and interaction of the lines
and planes. The asymmetrical ordering of the positive and negative spaces
are presented so as to define the idea of the table in an unorthodox
way. The series was painted black for its visual weight and to force
the viewer to focus on the formal structure of the work and not on the
surface of the material or on any emotional responses brought on by
colour. The centre of activity, rather than being on the implied surface,
is found within the internal space, defined by the vertical, horizontal
and diagonal fields.
Patrick
Thibert, Lambeth
Run, 1981; steel, paint; 4' x 10.5' 10'
Mia Westerlund
Muro
Three
wedge-shaped modules stand together, side-by-side and back-to-back,
emanating a mysterious life-spirit. The solid geometry of their form
is the container, the control and the conscious aspect of the work.
The textured, richly coloured concrete represents the sensual, the creative,
and the unconscious force which is contained and controlled by the form.
The dialogue between the cool and the warm, the rational and the emotional,
charges this work with presence and monumentality.
Text
by Rina Greer
Mia Westerlund,
Muro, 1976; concrete, pigment; 6.5' x 6.25' x 1.25'
