Various art galleries around Fitzroy – March 2012
At Sutton Gallery Brett Colquhoun’s “Spirit” is two separate bodies of work. There are landscapes where the condensation of the breath of the viewer is visibly obscuring the scene. And, in the main gallery, there is a larger series of drawings and paintings, “The Invisible”. In these painting geometric radiating rays of white, like hallucinatory radar grids, filling in the black surfaces. Breath + The Invisible = Spirit.
“Origins” by Damian Vincenzi at Kick Gallery is an exhibition of photographs of nature with a mirror image of one half. It is an old trick but Vincenzi has found some more beauty and magic in it creating visions of animals from mineral structures.
Seventh Gallery packs in three exhibitions into its small space. “Constructing Comfort” by recent Monash Fine Arts graduates, Rowan Moyle and Nickk Hertzog is in Gallery One. Slacker art like this installation is deliberately ugly, unappealing, shoddily crafted and dumb in such a way that it argues, with cynicism, that it must be great art because you and I can’t appreciate it. “Constructing Comfort” is anything but comfortable, although there are tarpaulin-covered shelters.
Leela Schauble’s “Dyeing Waters” installation in Gallery Two at Seventh Gallery is engaging with new visions of the body. In Seventh Gallery small Project Space “New Frontier” by Thomas Breakwell looked like so many other pieces of video art.
Gertrude Contemporary has “No Name Station – China/Australia Cultural Exchange” The exhibition presents indigenous art from a remote Australian aboriginal community alongside work by contemporary urban artists from Australia and China. The journey into and out of the gallery is the strongest uniting element of this exhibition. From Brook Andrew’s neon installation (“Maybe it’s meant to happen” 2010) the front window to the back office there is a path, sometimes clearly delineated with a fence of branches by Liang Shuo (“Visiting a Show” 2012). There is art along the way there are paintings, videos, weavings and installations. I particularly enjoyed the photograph of the intervention by Zhao Zhao (“Cobblestone” 2007), a stone glued out of place in Tiananmen Square, and the woven Pandanus gift mats with witty slogans by Newell Harry. Is this cultural exchange the colonization of Aboriginal art by the contemporary art empire?