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“I have an ongoing fascination with the outsider position, where many of us unintentionally find ourselves. For an immigrant culture such as Australia’s, there is an implicit sense of liminality that derives from not only the unknown future but also the uncertain past.”
“One is reminded of reliquaries; not that her objects are containers for holy relics, but that they suggest some deeper purpose, some other function that belies their simple beauty.”
From Cath Grant.
Within the realm of a dying sun…
Best known for working with paper, Lin Yan bridges the divide between two and three dimensions (she calls it working in ‘two and a half dimensions’), and between Chinese and Western philosophies and aesthetics.
“Sam Holt’s painting has developed an intensity and muscularity beyond the pared back gestural minimalist approach of former works. The palette has shifted from the pink, blue, green spectrum to a reduced, more neutral, not-quite monochrome range of blacks, white, grey, sand and silver.”
So much of the Australian art world is way too heavily invested in the old. So the new, that which is less understood, causes anxiety and often fear. The cling-on-by-their-nails attitude to an earlier way of doing things is remarkable for an arts industry claiming to be contemporary.
“There is no particular event that the work is based on, but rather a constant stream of fairly considerable shifts in the political/media landscape. Obviously, the election of Donald Trump and the associated emergence of fascism in the United States (sugar coated as the Alt-Right movement) represent a considerable shift in global politics.”
In both intent and purpose, presence is deeply rooted in this very arrival.
“Small works happen simultaneously with larger works on linen – they feed each other.”