The former is a Tasmanian female photographer who is a powerful manipulator of imagery of the female figure which has been partially collaged with other images. Eg a woman walking across a pathway with a paper bag where her head should be.
David Rosetzky is a Melbourne based artist who works at Monash University, and also uses the human form of portraiture but lays into the face of the subject other contrasting images. An example would be the face of a young man with a dove flying across it. Well curated , films /audios placed inside large cubicles for easy viewing and soundproofing and like items exhibited together. There was a diverse range of work but all referenced the human figure in some way.
Exhibitors include Rosslynd Piggot, whose massive white bed imposes an improbable and powerful presence above the space inviting all to dream.
The gorgeous black and white photography of Max Dupain of the 1950’s models portrays images of a graceful and bygone era.
Early collage work by Sidney Nolan and David Noonan are featured. A taxidermied black cat waves goodbye to us at the end of the show. It looks like a stage prop or TV show persona and not a gallery piece. Such is the depth and wonder of this show my eyes were opened to works by artists I knew but didn’t know were part of the Dada and Surrealism movements. Being removed from Europe and the USA these artists created their own version of the movement. It is a brilliant show and many of these influential artists are currently teaching and working in Australia.
I found particularly poignant and whimsical the installations by Judith Wright in the foyer. They are assemblages of found objects of childhood relics eg horses heads, child’s toys and a rowboat. These works depict the loss of her child, and are the artists imaginings of how her child’s life would be if she had lived and grown through childhood.
This exhibition educated and exposed me to a vast area of work by Australian artists working in a wildly inventive field of exploration.