



click
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Photographs (b+w) by Peter MacCallum
Robert
Bowers, Sorel Etrog, Elisabeth Frink, Mark Gomes, John McEwen, John
Ivor Smith
Inaugural Exhibition - September 11, 1981 - March 31, 1982
Robert Bowers
Sandcastle
Artist
Statemtent
This
work has layers of meaning expressed in the dualities of the images
which represent function, permanence and shelter. The viewer is placed
in the position of having to discern it as art, separate from the world
of functional objects, and is pushed to consider a key issue: 'how does
something acquire meaning?'
Robert
Bowers,
Sandcastle, 1980; wood, cast iron, steel, plastic; 96"
x 72" x 108"
Sorel Etrog
Ploughspace
The
triangle, crisp and cleanly formed, is slid open with such apparent
ease as to contradict the physical properties of the corten steel. The
formal concerns of proportion and connection are treated simply and
directly.
Sorel
Etrog,
Ploughspace,
1981;
corten
steel;
139"
x 60" x 192"
Elisabeth Frink
Horse and Rider
The
classic equestrian statue receives a contemporary interpretation in
this rough textured bronze weathered to its natural blue-green patina.
Elisabeth
Frink, Horse and Rider, 1975; bronze, ed./3; 102" x
108" x 30"
Mark Gomes
Untitled
The
viewer is invited to enter the narrow corridor and stand inside the
stacked wire mesh boxes in order to experience the paradox of being
simultaneously enclosed by the structure and exposed by the transparency
of the material. The door, portal and overall form of this architectonic
work recall ancient shrines and earlier cultures.
Mark
Gomes, Untitled, 1980; steel,
gabions, wood; 108" x 48" x 144"
John McEwen
(One and One)
Two
moments in time are expressed by two images. One represents the attenuated
moment of a single stride of a horse drawn out into 16 phases. This
has been set into an ambiguous relationship to the other image, which
is the compressed moment of a barn burning. The distortions of image
and time lead the viewer to experience and question the process of 'how
do we know what we know?'
John
McEwen, (One and One), 1979 - 1981, flame cut steel; 16 horses,
each 13" x 1" x 21"; burning barn, 12" x 16"
x 24"
John Ivor Smith
Inverted Section
A part of the human form, balanced precariously on its foundation, examines
the relationship between mass and weightlessness.
John
Ivor Smith, Inverted Section, 1972; fiberglass, reinforced
polyester resin; 120" x 24"
