John Meades concerns with the figure as a sculptor are translated here
into large-scale, simultaneous video projections. Propulsion depicts two
male bodies in different kinds of motion: the first riding a motorbike at
high speed where upon the camera zooms in to focus upon a tear forming in
the corner of the mans eye; the second, on a moving walkway which is in
fact moving so fast that the man loses his footing and does all he can to
simply hang on.
The images are projected on to suspended screens which can be viewed from
either side; like two floating picture planes. They alternately appear like
isloated stills from various popular films we may have seen at some time
(from slapstick to action film); the image is arrested from a larger
narrative at a crucial moment and were left to wonder what is going on,
what will happen; truly a suspended moment on screen.
But although its an image, the work nonetheless deals with various formal
issues around scale, volume, texture, and movement as they apply to
sculpture. As Meade says: the body is presented as a permeable object in
space: breathing, feeling, weeping and moving through time. Propulsion is
a joint project between ACCA and the Art Gallery of New South Wales,
supported by the Besen Family Foundation.
In the grand and long tradition of surrealism in photography, one of
Australias foremost photographers Pat Brassington exhibits her latest
series of doctored, digital prints in Gentle; images of some familiar
things gently but profoundly altered.
A plastic dolls profile brought into close focus in one image can reveal
some of the sinister conceits of mass marketed femininity. Likewise, the
raised skirts in another image reveal not one but two sets of impossibly,
straightened female legs. Of course, new technologies have added another
dimension to the project of making things strange to reveal the alternate
psychological significance of everyday events and objects. Just look at
advertising to see some of this potential: one thing becoming another, all
kinds of shapes shifting and blending.
However Brassingtons images are more subtle and pointed. She uses the
technology sparingly, to lull rather than shock the viewer into
disbelief. Indeed, Brassington arguably has the finest, gentlest touch of
any Australian digital artist at work today.
Her work was recently shown at Stills Gallery in Sydney, and included in
the 20th century survey exhibition End of the World at the Art Gallery of
New South Wales.