HOME COMING
Artlook issue #03. August 04
www.artlook.com.au
5 Canberra artists return home to offer contemporary interpretations of their personal explorations since graduating from the Australian national university's school of art. by john stockdill
In 1940 thomas wolfe wrote a book about a journey hrough the American landscape during the depression years. You cant go home again was a sharply observed personal exploration that predicted the writer's alienation from his hometown.
Home Ground is an exhibition by 5 emerging female artists who have moved away from the Australian National University (ANU) School of Art, and most of them also away from Canberra; but who are in no danger of acquiring alien status. in fact, the return of these artists shows probable cause for celebration, as the reunion offers significant insight into the diversify of paths taken by graduates of the school of Art. Like Wolfe 6 decades ago, they comment and reflect upon the landscapes and environments they find themselves in, and are all to a large degree, on a personal journey.
Curator of Home Ground Emma Epstein, says, 'with each of the artists in the exhibition working within the cities of Canberra, Sydney, Melbourne and Darwin, this is a unique and exciting opportunity too explore what is happening in contemporary painting. The work in H G offers a contemporary interpretation of the artists' personal explorations, drawing from disparate inspirations ranging from environment to mark making, the works are all sensually veiled behind layers of glaze that serves to reflect, refract and react.' Artists Anwen Keeling, Melissa Klein, Sarah Mufford and Fiona Sivyer studied in the painting workshop at ANU's School of Art, and Naomi Greschke in the printmedia workshop.
"Keeling paints sensual, voyeuristic images of young male and female figures. Here is an artist who understands the power of light, and uses it to give the work an inner strength and vitality. The images are dark and enigmatic, with an almost cinematic quality to them. I interrupted her at her studio where she was very happily painting (in the company of a glass of red wine and a spotted dog) and asked her what role photography plays in her work. 'Photography plays a huge role inky paintings,' keeling says. 'Unfortunately I have a hard time convincing people to sit still for any period, so shooting stills means I can capture fleeting moments and transient light with minimum struggle. I am influenced by film as well as fashion photography, and painters and photographers such as Vermeer- especially in my latest show where there are many images of a lone woman in spaces with varied light sources- Edward Hopper, Eric Fischl, Bill Henson, Tracy Moffat and Jeff Wall.
'As I continue painting and taking photographs, my investigation of light and the intensity of the colours it provokes is developing; in the next series I aim to play with more narrative. I am always wary of the term photorealism, yet occasionally it attaches itself to my work. Yet I feel that my work is not infact photorealism, as I don't try and deny it is a painted surface, the glazing and brush marks are still evident and important.'
'I am constantly amazed by the qualities of paint and the colours available. I lean heavily towards the translucent colours, and even when using opaques, tend to glaze over them with translucent colours. There is something incredibly beautiful about pigments, such as carmine, and the alchemy that happens when you watch it mix with your medium and then glaze it over the painted surface. I tend to over saturate the colour in my paintings, and there is usually a colour scheme in each piece, although that begins when I set up my photographs. I am quite bewitched by inky shadows and glowing flesh, and have always been influenced by Caravaggio and his mastery of chiaroscuro.'