It is good to see that the National Gallery of Victoria has purchased “Last Laugh” from Juan Ford’s recent exhibition at the Dianne Tanzer Gallery. The NGV has given me several pleasant surprises recently and I am warming to its new director, Tony Ellwood (see: The Trojan Petition).
“Last Laugh” is a realist painting about painting, a painting of paint – modernists do not have a monopoly on uniting materials and subject. The red painted paint is marking and smothering the plant as the man-made smothers the planet. It not easy to paint something that comments on the slow destruction of the planet but this painting comes close. This is not exactly Henry Lawson’s “blood on the wattle” as it is paint and not blood, and the botanical specimen is a eucalypt not a wattle; there are twists and turns in the narrative of all of Ford’s paintings. It is not a joyous image even though the sky is still bright blue for Juan Ford is an intelligent man and understands what sciences forecasts. The last laugh is the longest but also bitter and twisted.
Juan Ford’s “Last Laugh” is representative of many of Ford’s recent paintings as it is part of a series of similar paintings in his current exhibition and is similar to several paintings featuring Australian plants in his last exhibition. And there is no doubt, after a long string of awards, grants, commissions and group institutional exhibitions that Juan Ford is an artist that should be included in the NGV’s collection
The oil painting will fit into NGV’s collection in several ways and continue its narrative into contemporary painting. The question of genre is raised by these paintings, are they still life or landscapes or portraits of the nation through its flora emblems? Genre is one of those great post-modern subjects and genre mixes are a feature of post-modern art. “Last Laugh” is so much of this time and yet it obviously has many lasting qualities that will serve the NGV’s collection well in future.
As a long time fan of Ford’s work I wish, like all fans do, that he did more like his early work with engrave anamorphic images. His ability to paint that once was great has improved so much since then. (See my earlier post on Juan Ford.) But I can see why the NGV decided to acquire this strange and beautiful painting.
See also “In the Studio with Juan Ford” on Vimeo. http://vimeo.com/46172316