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A Monochrome Set
Those of you who saw this show may have been a little mystified as to how artist/ curator Diena Georgetti managed to cohere by will or hex artists of such diverse directions to such great effect. Most of the works are themselves amalgams of different media, in effect somewhat analogous to the show as a whole.
As the subtitle suggests, much of the work deals with esoteric or metaphysical themes. The shared commonality is a kind of textual vagueness, not actually distortion but a kind of interference of sources.
For example, Eugene Carchesio has placed within the minute architecture of his constructions what appear to be various mathematical equations. It isn't easy to dismiss the awe of complex technologies, especially when the catalyst of fascination is our incomprehension.
However, these equations confer a sense of awe to the totality of the pieces through their 'anchoring' effect, and their positioning. Interesting also were the many cones which were included as babelistic references to geometry. Apparently multifunctional, these cones served at times as sound receptors or transmitters.
Nancy Caltabiano's suspended sculptural pieces were both visually and tactilely interesting. In form they resembled the leaves of the carnivorous pitcher plant, containing the same hidden volume. If we refer to biology, however, the surfaces better approximate something more fleshy: the rough sown edges being reminiscent of the skin of some gruesome amputee victim.
The same concern for morphology recurs in Diena Georgetti's collection of diagrammatic sketches. Here we are witness to lessons in the transcendence of imperfect form - as opposed to perfect, Platonic, form. A blackboard drawing of a nearly fallopian figure rested in nice contrast to the internally faceted forms of the notepaper sketches. A blackboard pointer was thoughtfully provided by the artist.
Resting on spindly metal legs, Sharon Woods' Urban Markers, "alert the detector/inspector to their own contra-position…". Yet, being unequivocally sculptural, they relate as easily within their own forms as they do to any "inspector". Gradual surveying revealed a fascinating linear interaction between the works, notably with regard to the axial symmetry.
Mark Webb's The Desert, The Tourist shows in part a legacy to minimalism, with some innovation. The title is a little uneasily reconciled with the work, and is consequently the source of some dissonance. Perhaps it might be interesting to see Mark Webb collaborate with the photographer Douglas Spowart on this theme.
Belinda Gunn's photo installation deals primarily with the theme of psychic unrest. Graphic black and white prints are flanked on either side by large pillars. Black and white slides of the same image, but more photographically distorted, are projected onto the wall.
On the surface these photographic images are self-referential in that they tend to block out peripheral information while the pillars constitute a disruption of viewing conventions by failing to de-emphasise framing devices.
They also imply something archaic, perhaps a temple doorway where the uninitiated catch glimpses of a secret rite. Her slides subvert the mythology of the static non-temporal photographic image by directing us to the scanning process of viewing. Innovation in this work has clearly passed beyond the stage of experimentation.