There was only one unsold work at the opening of Rone’s “When She’s Gone” exhibition at Backwoods Gallery on Friday night. Almost everything had been sold before the opening – red Backwood’s sticker beside them on the wall. When she’s gone she’s gone.
It was not surprising as Rone is a Melbourne street art legend, a member of the Everfresh crew, who was busted by the cops with Civil at the 2003 Canterbury “Empty Show”. Rone started decorating skate decks and skate parks and he then moved to large-scale faces of women. The high contrast images of the beautiful face of a young woman look like so many photographs from fashion magazines.
Rone has been refining his close-up image of a woman’s face for years in stencils, screen prints, paste-ups and stickers. And the image has become very refined. In 13 works in the exhibition and walls everywhere Rone’s image of a woman’s face was everywhere. Rone was giving away sheets of stickers of his postage stamp version of the woman’s face.
Everyone at the opening was talking about the works on real brick cladding that Rone was using as a support on four works. It is not that remarkable, just Google “real brick cladding”, and a bit hyper-real given that it didn’t matter what the support was, paper, canvas or brick cladding.
Rone uses the Situationalist International process of décollage (de-collage or tearing away) posters. The Situationalists like “anonymous lacerations” of advertisements defaced by vandals, they became “found images”. “In 1961 Jacques Villeglé and Raymond Hains exhibited their décollages—torn and ripped agitprop posters—at the exhibition titled in a play on words, “La France déchirée” (France in Shreds).” According to McDonough, Hains’ displayed the posters in order to expose the Algerian war. (Whitney Dail “A Critical Review of ‘The Beautiful Language of My Century’ by Tom McDonough”) Unlike the Situationalists Rone doesn’t use décollage for explicitly political purposes – it was all on top of Everfresh and other posters.
Rone’s exhibition is pure pop beauty. The triptych “I know what I know” fills the whole wall, like a series of comic book panels with text. Rone’s titles have pop culture references to song lyrics, like “Hurt So Good” (John Cougar) or “Blue Monday” (Joy Division) or “Ain’t No Sunshine” (Bill Withers).
“Ain’t no sunshine when she’s gone
It’s not warm when she’s away.
Ain’t no sunshine when she’s gone
And she’s always gone too long
Anytime she goes away.”
– Bill Withers