Over the weekend I visited the Bendigo Gallery of Art, I hadn’t researched the gallery at all so I was really surprised at the size of the gallery, as well as the range of work on display.
I love Kate Rohde’s incredibly kitsch resin vitrines. So plastic-y, they look like there made of gummy sweets with semi transparent goo melting and merging.
I find them ridiculously amazing, there aesthetically overwhelming. The coloured resin flora and fauna designs cast shadows adding visual depth to the work. The ‘specimen’ displays are made entirely of man made materials, and visually mimic museum diaorama’s.
Kate Rohde has combined her interest in flora and fauna with her love of the elaborately ornamental baroque and rococo art movements, to great affect.
In 2009 I visited the Museum of Everything in London, which exhibited shell work, hand embroidered work, hand-painted circus signage and much more. I always remember the taxidermy drinking mice, and the boxing squirrels below.
Images taken by Sarah Murphy, except the ‘Boxing Squirrels’
Excerpt taken from an interview with Jennifer Sammat on Hyperallergic.com:
“If you ask a bunch of college students, “Is anybody here an artist?” most will say, “Oh, I can’t paint, I don’t know.” Everyone is embarrassed. But, if you put on some music, and say, “Anybody want to dance?” well, everybody can dance. No one says, “I haven’t really studied dance.” People get up and they have a good time. I’m just saying — that’s good! In the art world, we could all dance a little. Dancing’s fun.” This statements contrasts with the current Arts Project Australia exhibition, ‘Lets Dance’ where dance is the subject of some peoples anxieties. I don’t intend to discredit this, but quote is a means to convey a message.
Martin experienced a level of preciousness towards painting on a canvas, that he didn’t have with drawings on paper. A habit he broke through experimentation and adopting a level of fearlessness he could see within his clients/students at work.
With a background in Arts Therapy, Chris Martin had been (and possibly still is) in the presence of some rather great self taught artists. He felt their energetic channelling of creativity contrasted greatly to his formal arts training, causing a necessary rupture in his practise. His work environment provided an arena to experiment with alternative materials like pom-poms and metallic paint and glitter.
He paints XXXL, creating what some consider ‘severe abstract’ space to mill around in, and when the mind wonders a touch, its still wonders within the XXXL canvas. Interestingly he considers himself a landscape painter, and includes what he views as a horizon or ground line in each work.
Chris Martin you caught my eye because of your use of glitter, sheer scale, boldness and sense of journey within your work. I found you in this aptly named artspace.com article:
Glitter, Neon and Good Old Fashioned Paint: Three Abstract Painters Pushing the Medium Forward.
The publication above reminds me of all the things I find interesting about some Chinese advertising: layout, scale, changeable font styles and colour combinations.
A Youtube comment worth reading, “Open up four tabs with the music playing at the same time at different times for the ultimate experience”
I did it. it was amazing.
My first exploration into Charlemagne Palestine’s music, contemporary of Philip Glass, and Steve Reich – was the visceral ‘Body Music”, but this comment relates to ‘Strumming Music‘. A piano piece which builds, layer upon layer, loops, steps back and forth, it both hurries and relaxes all at the same time. Filling the space between the beat with a strumming technique where by a note seems to chase its tail, to whirl and spin around, shifting into the next.
What brought me to him was this…..
But I think I like his music equally. Both immersive, both soft yet aggressive in their clustering or packing, both full of visual or sonic texture and colour.
I do know why the teddy bear developed as a motif, I’m interested in Charlemagne Palestine’s alignment with Animism more so than the bear itself.
The more I read about him, his interest in animism, his intention to exist on the outskirts, to not be considered an any ‘thing’ in particular, a rejection of categorisation. And also the fact that he was involved in the beginning of the CalArts school, much like Judy Chicago and a number of other artists I seem to be drawn too. I’m looking forward to investigating further and seeing who else appears with rebellious inclinations.