VAC gallery
Left to right: Magda Cebokli Probability Monochrome #4 (detail), 2010; Gordon Monro Difference Engine 3a(detail), 2012
Non-Objective Conversations x 4
Louise Blyton, Magda Cebokli, Wendy Kelly, Gordon Monro
27 March - 5 May 2013
This exhibition is made up of the work of four artists who have different approaches to non-objective abstraction but demonstrate a commonality of philosophical threads. They work within a range that primarily embodies the critical deepening of a contemporary investigation within Australia of non-objective, concrete and abstract art. Although they each take a very different approach to non-figurative abstraction, the results can be read as being part of a complementary aesthetic and it is with a sense of support for the practice of a non-objective dialogue that these artists have come together. Each has their own independent interpretation of materials, methods, concept and aesthetics and these form an entry to our conversation about current abstraction.
The intensity of the perfect matt quality and the purity and saturated colour of raw pigment in Louise Blyton’s work is strengthened by its hard edged relationship with the neutrality of the colour and texture of the raw linen ground. She interprets this passion for the raw material further by manipulating the substrate of the work to create multiple surfaces, taking the work off the wall, around a corner or into the viewers space, moulding them to introduce nuances and shadows. Blyton’s work has a sculptural quality and can be either freestanding or three dimensional wall constructions. They tilt and challenge visual logic and spacial conventions as they invite you to seek their whereabouts and discover the non-verbal conversation between each piece.
The immaculate surface of Magda Cebokli’s work on the other hand, blends with a minimalistic luminosity at a distance that belies the complexity of her processes. As with Blyton, a sense of purity is also felt in these works; however by using a strictly restricted palette and classic forms, her deceptively simple units yield complex and subtle results. At close reading, the fineness of detail becomes mesmerising. Cebokli is influenced by mathematics and geometry which is interpreted through a strong sense tonality. Using a numerous series of tones from black to white in the finest lineal format, Cebokli creates a shimmering, shifting quality in her work.
Wendy Kelly’s work incorporates collage and inert pigment in a manner that creates subtle irregular grids or geometric forms and their inherent rhythms and tensions. Using multi layered processes the surface is slowly built with intricate complex layers. Within an “almost monochrome” aesthetic and a complex lineal structure, minimalism’s reductive influences are explored in a way that has a post-formalist sense. Kelly works in series, each work informing the next. The slowly built layers begin with thread imbedded in the surface and move to the addition of layers of paint and glazes. Materiality is adapted in these process based works which incorporates the tearing out of part or all of the applied thread, the addition of print in the form of book pages and which is torn by the thread’s removal, or the addition of rice paper.
The digital work of Gordon Monro comes from a totally computer developed process. Monro uses mathematical computations and genetic algorithms to produce biologically inspired computing programmes. These result in complex and ever changing images, rhythms or evolutions which develop and mutate. Monro has designed these images to be abstract in form, printing the result at the moment in development that he feels appropriate. Although the images are the result of the artist’s mind and machine, Monro has had control over the programme and its aims and the inherent decision making process. Human control and involvement or input is critical in decisions to start, pause, alter or stop the process or when the colour and formatting of elements need to be aesthetically addressed. The work is presented both digitally and in print form.
If one compares Monro’s crisp photographic images and Cebokli’s perfectionism, and then moves to the importance the quality of raw pigment in the work of Blyton and the materiality in the work of Kelly, the individuality of approach to method forms an entrée to the conversation. It becomes more complex when one engages with the concerns of each artist. Monro’s cool technology, Kelly’s intrigue with materials, Cebokli’s control and Blyton’s challenges to a particular spaciality.
Each artist has a strong involvement with the process of making. Equally, mathematics, geometry, and the grid have to varying degrees compositional importance. These artists work in series, one painting informs and is subtly reinterpreted in the next .There is a particularity in the approach to surface and substrate, Blyton being sculptural, Cebokli controlled, Monro’s photographic digital images and Kelly’s manipulations. The brightest palette comes from Blyton; Monro uses primaries, Cebokli black through to white and Kelly, monochrome. All works have physicality and an involvement in experimentation towards elimination of irrelevant surface treatment and primarily, all works shun the narrative.
Dr Wendy Kelly, March 2013.
The exhibition was launched on Wednesday 27 March and Wendy Kelly gave the opening speech [PDF 66KB].
Exhibiting at the Visual Arts Centre
Please note that the exhibition calendar for the VAC Gallery for 2014 has been finalised and applications are not being invited this year.
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Applications close on Thursday 28 March 2013
