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.

More from this Issue

Home is where the heart is

University of South Australia Art Museum, 13 September - 20 October, 2001

Pamela Zeplin

Trade: Fiona Hall

Stephanie Radok

Yokohama 2001 International Triennale of Contemporary Art, Japan

2 September - 11 November 2001

Chris Reid

Too Strange, Matt Calvert

CAST Gallery, Hobart 7 - 29 July 2001

Briony Rhodes

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.

Juliette Peers

KaltjaNOW

Wakefield Press in association with the National Aboriginal Cultural Institute - Tandanya Softcover 170pp

Gary Lee

Melbourne International Festival of the Arts, Visual Arts Program

Visual Arts Program, October 2001

Penelope Richardson

Wide Open

Lawrence Wilson Gallery, Perth 14 September - 21 October 2001

Philippa O'Brien

Post Natural Nature: Rosemary Laing

Brisbane born Rosemary Laing is one artist who is fully up to speed with the photographic and technological changes in supermodernity. Her work conveys better than most the strange double life we lead today: one half viscerally embodied, the other half immaterial and virtual. Like an aviation physicist Laing tries to push the envelope of what can be represented in photography. Works such as Natural Disasters (1988), Flight Research (2000) and Groundspeed are here examined.

George Alexander

Vis.Arts.Online

Artlink.com.au

Stephanie Britton and Belinda Daw

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.

Judith Ryan

Artrave

Artlink

View all articles in this issue