From Sharne Wolff...
Considered in isolation, a glance at Elizabeth Pulie’s latest exhibition of colourful painted designs might seem quite straightforward. However, to quote the T-shirt, this is a case of “context is everything”. The show’s title #38 – #40 provides a small clue as to what is brewing. Pulie’s numbered works are the latest three in a second large series of numbered paintings. Although each series has taken a distinct approach, both are connected to an ongoing experiment about decoration in art labelled the ‘end of art’. For her second series Pulie’s aim is “to be as experimental in art making as possible” while drawing on specific themes.
Paintings #38, 39 and 40 depict tribal-like patterns captured in Pulie’s imagination. They derive from another 2013 work entitled The Female Form (II) – a further evolution from banners displayed in Sydney streets a decade earlier where she referenced the ‘second wave’ of 60s and 70s feminism. While employing seemingly abstract and decorative motifs Pulie says of the paintings, “I didn’t intend to draw vaginas in the first instance, I was trying to draw three reproductions of a vaguely floral design in a row, but the design became more explicit as I went”. Historical feminist references are found everywhere. The banner medium is a nod to wide-ranging protest marches for women’s rights while the hessian, an unpretentious and utilitarian fabric, promotes an earthy 70s craft-like feel. With the application of acrylic paint Pulie intends the ideas in her work to span the decades.
Until December 21
Sarah Cottier Gallery, Paddington
Pic: Elizabeth Pulie, #38, 2013. Acrylic on hessian, metal rod & Fimo, 176 x 300cm. Courtesy the artist and Sarah Cottier Gallery.