exhibition statement: Aqua VoVo
The essence of summer cannot be replicated but an allusion can be realized through a suite of constructions featuring white, with its inherent lightness, three pink tints and the luscious clarity of lemon yellow.
An intimately defined area was made within the gallery by closing the translucent, sliding glass screen. The square shape of this tri-partite floor-to-ceiling divider not only has set up the catalyst for work but also acts as an inclusive yet autonomous element. Aqua VoVo, a playfully melded title, refers to the screen’s colour combined with part of the name of a favourite Australian biscuit and its triple linear design. Uniting various geometric forms with complexities of edited, yet invisible, ‘thought’ layers results in a site-specific space having reductivity and sensory uniqueness.
Finite volumes in Infinite Space: lemon
fabricated laser-cut acrylic; seven 9cm cubes and two oblongs (9 x 6 x 9cm; 9 x 3 x 9cm)
A series of evenly spaced cubes, spanning most of the length of a wall in a horizontal line, concludes with oblongs placed unevenly at each end. The pattern seems likely that it will continue within the gallery, outside and beyond, but also presages shifts as well. One precedent is Donald Judd’s 100 untitled works in mill aluminum. Similarly, the gloss surface here reflects and radiates light. The subtle grey tints of the cast shadows acknowledge the metallic cross-beams of the in-situ glass screen.
Violet Pink Eternity
Nepalese hand-felted wool, acrylic paint; three spheres, each 2.5cm diameter
An object like a moment may contain a particular distillation. In this work, a triplication of spherical objects happens to be the symbol of an ellipsis.
mixed media painting; 15cm x cm
In its dual bright raspberry and delicate watermelon pinks, Vovolina evokes summer’s vitality and innocence held in space-time yet accessed through memory.
Factory 49 (Sydney) Paris Pop Up
122 Rue Amelot Paris 75011
21 July - 13 August 2016
Gratitude galore to Pam Aitken, Jean Claude Le Gouic and my primary accomplice | editor, Paul MacGillivary; special thanks to Richard van der Aa for his curatorial expertise; and appreciation to the fabricator, Dave O’Malley (The Plastic Display People, Perth)