Artists chart life journeys
TWO regional exhibitions deal with social, cultural, and environmental dislocation and its resolution.
The artists rely on techniques using colour and pattern to symbolically chart their journeys in establishing identity through assimilating new beginnings within different surroundings. The Crows Nest Regional
Art Gallery is hosting Exploring the Unknown, an exhibition by Sunshine Coast artist, Ute Grigull.
The paintings cover an eight-year time span, a period of transition and the acceptance of a new country.
The works are multi-layered, adopting an initial mix, press and print technique to create a ground on which further layers of mark making and symbolic stencils create ambiguous spatial relationships.
The bird’s eye view of an elevated perspective suggests satellite imagery of oceans and landforms traversed by linear ornamentation and brushstroke motifs.
Sonic wave and flow patterns throw a membrane of memory over a preternatural environment that has become the artist’s new reality.
Colour weaves a tapestry that holds the past and the present together as lived exThe perience.
By reinventing the familiar structures of nature, Grigull has reconfigured her own identity in response to the physical, spiritual and emotional demands of place.
The Rosalie Gallery in Goombungee offers the opportunity for local artists to be considered as the Gallery’s annual emerging artist.
This year, the exhibition slot was secured by Sheldon Lindsay with her body of work entitled The Paradise of Parádosi.
The title alludes to the lexicon of Greek antiquity, Judaism, and Christianity in which the word parádosis means ‘to give up, to surrender’ be it truth, tradition, or location.
The familiar is comfortable, secure and when this is threatened by upheaval, a change of home or country, the period of adjustment can be a challenge.
For Lindsay, however, this transformation became the celebration of a paradise with new surroundings.
paintings are all about technique, a series of specialised procedures using highflow acrylic paint to produce some spontaneous, but prescriptive effects.
New technologies such as digital painting, and the prolific YouTube tutorials about processes such as acrylic pouring and flow paintings offer a wealth of eye-catching results on which to hang a concept.
Lindsay’s paintings are colourful and dramatic statements of free expression.
The Dunmore Gallery, 33 Dunmore Street, (Thursday, Friday, Saturday 6-9am and 12-2pm) is showing Treasure, an exhibition comprising the work of several very different artists from the gallery’s stable.
There is a sharp geometrical assemblage by Mariska Fenner, photography by Darcy Campbell, and a detailed travel notation by Natasha Wells.
Gallery owner Gerard Addison is represented by paintings and sculptures including Soul depicting the swirling convolutions of the soul as it processes emotion and experience.
Jay Jermyn’s elegant digital manipulation sits well alongside the whimsy of Danish Quapoor’s Double-edged Thorn and the eloquence of Eloise Richardson’s hand study, Anticipation.