Monday, April 30, 2012

Installation images Ritson + McCook

Installation images[top and below]



Joanne Ritson. Tulip & Crocus[both2003]Pigment& micro cystalline wax on plywood.


Detail Brandt McCook,  Wonder walking, astral bright, 2011-2012

Joanne Ritson, Thallium Sky, 2006, Oil on Linen

Thursday, April 26, 2012




BRANDT McCOOK + JOANNE RITSON
Works grouped by Michael Graf

MAY 2012
GREENWOOD STREET PROJECT
2-6 Thursday & Friday, and by appointment (last day Friday 1 June)
Greenwood Street Project is a creative initiative under the supervision of Donald Holt & Tomislav Nikolic, located in Abbotsford, Victoria.
Greenwood Street Project
9 Greenwood Street
Abbotsford 3067
T: 613 9415 8893



Brandt McCook + Joanne Ritson
Greenwood Street Project, May 2012

I’ve known Brandt McCook and Joanne Ritson for many years. They, however, have never met or seen each other’s work until this exhibition at Greenwood Street Project. Although their work doesn’t resemble each other’s in appearance, I sense parallel modes of seeing and making. In particular, both are drawn to patterned structures and the decorative arts. Before embarking on her current painted works, Ritson’s preferred format was coloured wax, which formed intricate inlaid reliefs. Although recalling pietra dure and marquetry, these works incorporate drips and splashes that highlight their molten origin. McCook, likewise, constructs small panels made from tiny sections of plastic shopping bags. This technique resembles a master making a stained glass window, however abject McCook’s choice of media. Because of the vulnerable nature of the materials they employ, doubts are raised about the long-term preservation of Ritson and McCook’s work. It assumes a compelling pathos that runs counter to the artisan techniques the two artists reference - stained glass and inlaid stone or wood. Perhaps forewarned, both Ritson and McCook have shifted from wax and plastic to paper and canvas. Sensibilities that informed their earlier working methods are transferred to these new media. Ritson’s paintings mimic the look of molten wax whilst exploring subtle spatialities that were limited with her previous technique. McCook’s charcoal drawings of aerial views of wooded landscapes draw on the map-like quality of his sectioned plastic panels, now enlivened with an abundance of naturalistic detail. And here arises an unexpected point of contact between these two artists. Both have turned to landscape as a subject, but from strikingly different paths. Ritson’s “chemical” terrains are adapted from images of microbiology, whilst McCook’s woods (as indeed is the patterning of his plastic panels) are formed from the shapes of words and phrases. Rather than depictions of actuality, I would designate these works as a form of self-portraiture, so closely are they aligned to aspects of their makers identities. 

I anticipate further insights to arise from this “forced encounter” over the next four weeks.


Michael Graf
Melbourne, April 2012



Tuesday, April 3, 2012

A LOOSE HARNESS FOR TIME

  
  Installation Photograph


   Leslie Wayne, What Goes In , 2000
  Oil on Wood , 
  14 x 12 x 2.5 inches
  Private Collection



   Leslie Wayne, What Goes In , 2000 [detail]


    Linda Ann Stark, Aqua Pulse,[diptych] 1995-96 
  Oil on Canvas on Panel,
  18 x 18 x 3.5 cm each
  Private Collection


    Linda Ann Stark, Aqua Pulse , 1995-96 [detail]

    Tomislav Nikolic, Mutable, position six , 2010
  Acrylic & marble dust, Radiata pine,
  67x50x50cm
  Courtesy of Jensen Gallery, Sydney.

    Tomislav Nikolic, Mutable, position six , 2010 [detail]

  This project is under the supervision of Donald Holt.

Sunday, April 1, 2012

A LOOSE HARNESS FOR TIME

A LOOSE HARNESS FOR TIME
APRIL 2012
GREENWOOD STREET PROJECT

The repetitive process in these artists method is a unifying element in this presentation of works by Linda Ann Stark, Tomislav Nikolic & Leslie Wayne.
The protracted nature of their production is separated by each artist’s use of temporal space: a critical difference that releases the works to the viewer. Each imbues a second time frame particular to their making, material and display.
Whether through optical tension, the performative nature of intervention or a planned release into entropy, the works making is considered with time as the vehicle to be controlled and released, a medium with its own viscosity.