The Chronicle

Graduart a testament to tenacity

-

GROUP exhibition­s often depend upon a particular context that gives their content direction and meaning.

This can be the shared learning experience of a cohort of artists.

It can be a curatorial premise that offers fresh visual associatio­ns, or perhaps a themed project that the artists have addressed.

The Arts Gallery at the University of Southern Queensland and the Toowoomba Regional Art Gallery are the shared venues for Graduart 2021, the annual exhibition by USQ Visual Arts students who have completed their studio practice courses.

This body of work has been created in a time frame undermined by the constraint­s of the pandemic.

It is a testament to individual tenacity and finds resonance with the insights into human nature as documented in Defoe’s plague journal, and in the persistenc­e, compromise, and resilience that frame Garcia Marquez’s Love in the Time of Cholera.

Some works actively reference life lived in altered circumstan­ces such as Belinda Stanton’s wickedly humorous ceramic statements about social distancing.

Leah Kelly uses ceramic and glass to symbolise the transcende­nce of hope, and the paintings by Mark Stevenson evoke memory, and nostalgia for places visited.

Other works of interest include the collaged vintage photograph­s by Sarah Neuman, organic forms exploring colour and light through mixed media in the installati­on by Simone Peterson, a connection to place as described in the photograph­s and ceramic “stepping stones” of Peter Osborn, and the assimilati­on of cultural difference as detailed in Del Baldoviso’s enigmatic reduction lino print.

The Toowoomba Regional Art Gallery is also presenting the exhibition Picture Playground­s in the larger Lindsay Gallery.

This is a bright, almost bombastic explosion of colour made even more dramatic set against the charcoal walls.

The key work is The spit that joins the magic together, a visual opus by Damien Kamholtz.

This ten-panel assemblage is a semi-autobiogra­phical narrative work that celebrates the artist’s joy and sense of responsibi­lity as a new father to a baby son.

His references include Icarus from Greek mythology and the French poet, Arthur Rimbaud.

The palette is subdued yet flashes of red highlights are flung and caught in works such as Stephen Spurrier’s Red Sky Painting, Tarn McLean’s monochrome, the poured vibrancy of Pip Haydon’s painting, and Chris De Rosa’s collage.

The playful interactio­ns have been carefully and cleverly choreograp­hed in an exhibition design that also masterfull­y incorporat­es Lionel Lindsay etchings with photomonta­ges by Holygreenc­ow.

Parkside Ceramics, the gallery of the Darling Downs Potters’ Club, 145 West Street, is featuring settings from the members’ Table for Two exhibition.

The whimsical extremes of Mary Deutscher’s Mad Hatters Tea Party, the elegance of Kris Lyon’s Tuscan platters, the simplicity of Maree Luck’s Indigo Skies, offset by Yvette Wylde’s robust, family-friendly ware and Lyn Crichton’s rustic herb imprinted dishes, are all individual responses to shared conviviali­ty.

 ?? ?? TEN-PANEL ASSEMBLAGE: Detail from The spit that joins the magic together, by Damien Kamholtz at Toowoomba Regional Art Gallery. Pictures: Contribute­d
TEN-PANEL ASSEMBLAGE: Detail from The spit that joins the magic together, by Damien Kamholtz at Toowoomba Regional Art Gallery. Pictures: Contribute­d
 ?? ?? Mad Hatters Tea Party by Mary Deutscher at Parkside Ceramics.
Mad Hatters Tea Party by Mary Deutscher at Parkside Ceramics.
 ?? ??

Newspapers in English

Newspapers from Australia