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The exhibition consists of 12 large drawings in charcoal, ink, pastels
and paint on paper, and a corresponding set of 12 paintings in polytex,
acrylic and metallic paint on heavy jute, as well as a smaller quartet
of studies to the paintings. Common theme of all works is the female
body, intersected into twelve parts, so to speak from toe to tip.
Analogue to the composition
principle in atonal music, these intersections form the equivalent of
a visual scale, thus providing the building material for future work.
The paintings explore
the body feeling of the different body parts in the experience of the
artist. A cosmological dimension is suggested by relating the body feelings
to the moods of the four seasons of the year (each subdivided into three),
the fours elements, and the 12 signs of the zodiac.
The drawings are based
on images taken from an anatomical atlas, and on life studies, but are
also abstracted and monumentalised to achieve an epic quality. Though
the images also determine the forms in the paintings, the colours, textures,
and (controlled) gestural movement show expressive heaviness, as if
seeking a counterpart to the lofty concept.
... The visual display
is accompanied by a tape of (12) natural sounds, which are set in atonal
arrangements.
The integration of music
and vision both in the presentation and the underlying concept follow
the European tradition of Total Art, which appeared in many guises from
Wagner to Beuys, currently experiencing a (frightening?) revival in
young urban art practice, stimulated by new French philosophy.
It is of interest in
this context that Anton Schoenberg, the inventor of Dodekaphonie, and
Wassily Kandinsky corresponded over a Total Art colour system. Schoenberg
himself was a hauntingly expressive painter.
The exhibit will be
on display until June 14.
Anna Bock, in Courier
Mail, Saturday May 31, 1986, Brisbane, Australia. [ABRIDGED]

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