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.
to the composition principle in atonal music, these intersections
form the equivalent of a visual scale, thus providing the building
material for future work.
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.
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.
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.
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
exhibit will be on display until June 14.
Anna Bock, in Courier Mail, Saturday May 31, 1986, Brisbane,
work since 2000 is at www.ranna.com
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