Jan Manton
... out of time | Carl Warner
... out of time | Carl Warner
Jan Manton
Desire Path | Karla Marchesi
Desire Path | Karla Marchesi
Jan Manton
False Continuity | Jacinta Giles
False Continuity | Jacinta Giles
Jan Manton
Intimate Dialogues | Judith Wright
Intimate Dialogues | Judith Wright

2018

First Impressions: The Valley of Skies

 

First Impressions: The Valley of Skies

31 October - 24 November, 2018

The themes of place and exchange have played an integral role in the long and rich history of visual art in Australia. These responses address specific places, and their personal and cultural significance. The sharing of these experiences with others informs the majority of works that have produced in this country. This theme of place is embedded in the long, rich and continuing history of Australia’s Indigenous art and culture. More recently the formation of groups such as the Heidelberg School have highlighted this desire to travel to and represent new locations.

Creative relationships such as the Heidelberg School arise from a mixture of circumstances. These include where the artists live, their interests and the time they occupy, as well as chance. The artists participating in ‘First Impressions: The Valley of Skies’ have some of these elements in common, but are also united by exhibiting with Jan Manton Art Gallery. Through this mutual professional connection, other creative relationships have emerged. These associations have enabled this new group exhibition.

Conceived and curated by Lee Wilkes in conjunction with Jan Manton, the exhibition invites the artists to respond to a unique site in Cannon Creek, southeast of Boonah. The property, deep within Queensland’s Scenic Rim, boasts some of Australia’s most magnificent scenery. The owners have an obsession with mountains and skies, but in particular, storms - “the bigger the better” as far as they are concerned. They love the energy of this special place, where the earth and sky seem to touch. They can feel the vibration, and sense the spirit of this ancient but ever- changing scene. The views encompass everything from Mt Lindesay in the Border Ranges to the south, to Nanango in the Blackbutt Ranges to the north. This spans a distance of over 200 kilometres.

The region marks the starting point for many of South East Queensland’s summer thunderstorms. From the vantage point of the property, these can be seen from conception to full blown potency. Heavy rainfall early in the year creates a lush and vibrant landscape. By June a striking transformation occurs, with luminous green being replaced by the driest of ochre. This transformation reminds us of nature’s continuous evolution. Combined with this most prehistoric landscape, it forces us to consider our purpose within this place.

The property lies on private land. As a result, the artists featured in the exhibition would be have been unlikely to have had access to this powerful and majestic landscape. This highlights the value of sharing meaningful connections and experiences with others.

Inviting artists to respond to an experience of a new site presents an interesting test. It highlights the momentum of a practice. Will the experience of this new place assimilate visually into an existing body of work, or will it be in contrast? What drives artists to feel compelled to represent some experiences and not others, even of equal interest? Adding to the complexity of these questions is the ability to experience places digitally. This raises the possibility that the physical experience will be in contrast to the initial, digital encounter.

First Impressions: The Valley of Skies explores the possibilities of a site both fixed and in a cycle of change. This combines with the interests, materials and processes that each individual artist brings to it. Each work represents a moment of interest in something seen for the first time, which is captured and shared. These works generate new dialogue and experiences for those observing them.

 

Dark Mirror | Carl Warner

 

Dark Mirror | Carl Warner

2 - 26 May, 2018

In the Eighteenth century it was the height of fashion for tourists to venture out into a landscape turn their back to the scene and view it in a dark pocket mirror known as a Claude glass.

Nature was better understood as a picture, a thing to be defined, shaped and limited by technology. The convex mirror brought a whole vista into view, the darkened tint reduced the light to the tones of paint and moving the mirror shaped the landscape allowing the particular arrangement of formations that made a picture to the liking of the observer.

The diversion was so popular that guidebooks gave stations, places from which the best view could be obtained, including one in the middle of a lake. The painter John Glover brought his Claude glass with him when he moved to Van Diemen's Land to assist in seeing and transcribing the Australian scene.

What was an Arcadian filter when used in Britain was a European filter in Australia, a look back to a time before. Use of the Claude glass fell away and it is little known now, but we still turn to and from nature using tools to alter it to our liking. A smart phone is almost the same size as a Claude glass and the darkened screen can act as a similar mirror and our touristic impulses to see a scene ‘at its best’ are unchanged.

I went on my own tour to the ruins of Port Arthur and the splendor of the Pieman river in Tasmania with thoughts of the glass and an interest in how we, as a species, attempt to set ourselves outside of the natural. We constantly turn to and away from nature confusing the real with the ideal, thinking of how it should be rather than as it is.

 

Liberté | Aaron Butt

 

Liberté | Aaron Butt

4 - 28 April, 2019

“I invent... I attempt...I perform.” Philippe Petit “I invent nothing, I rediscover.” — Auguste Rodin

Liberté explores both real and imagined connections and disconnections between French highwire artist Philippe Petit and sculptor Auguste Rodin.

Across painting, drawing, photography and sculpture, the works draw parallels between the two creatives, while simultaneously exploring their use of framing the body and strategically creating specific viewpoints to experience their work.

Liberté presents seemingly disparate fragments which work to create new and non-linear narratives based on shape, colour, texture and reoccurring motifs.