Trade: Fiona Hall
Botany meets metal. Metal meets knitting. Knitting meets videotape. Videotape meets soap. Soap meets money. Money meets botany.
More from this Issue
KaltjaNOW
Wakefield Press in association with the National Aboriginal Cultural Institute - Tandanya Softcover 170pp
Jeffrey Smart Drawings and Studies 1942-2001
Australian Galleries Works on Paper, Melbourne 13 October - 4 November 2001
NO MUTTERING
Ivan Dougherty Gallery, Sydney 4 October - 3 November 2001
Queensland College of Art Gallery, Griffith University, 25 Jan - 24 Feb 2002
Queensland College of Art Gallery, Griffith University, 25 Jan - 24 Feb 2002
Green Line: Pip McManus
Watch this Space, Alice Springs June 23 - July 7 24 HR Art, Darwin July 20 - August 11
Rosslynd Piggott: Perfect/Sense
In the context of Melbourne art, Rosslynd Piggott could be linked to a significant movement of young artists who emerged in the 1980's. Her earlier works were figurative compositions which presented painterly/philosophical essays upon the nature of water, clouds and impermanence through surrealistic juxtapositions. This article follows her career from the early painting days through to her current concerns with mediums such as sculpture, installation and more recently performance.
Ginger Riley Munduwalawala: A Seeing Artist
Ginger Rileys superlative colour sense sets him apart from other Indigenous Australian artists. His unique landscape manner, studded with icons of identity and place, is instantly recognisable yet it has attracted both passionate acclaim and vitriolic criticism. Riley has forged his own way of encapsulating and celebrating the grand sweep and detailed minutiae of a particular tract of land in Southeast Arnhem Land, over which he now holds native title through his role as djungkayi (caretaker). In order to understand why Riley stands alone as an Indigenous painter, Ryan looks at his personal life history and the wellsprings of his art: his intimate connection to his mother's country.
Light Years: William Robinson and the Creation Story
Art for William Robinson has always been an intensely personal exercise, from the early domestic interiors, suffused with love for his family, to the hard-won intimacy of his relationship with the wilderness in which he now lives. Yet the animating principle of his work in its ever changing fashion is its expression of faith. Robinsons landscape is unquestionably a God-revealed world; what is in question is the relation of man to that universe. As much as Robinson's art is a faithful reflection of his immediate environment, it is drawn from the memory of an experience in a landscape .