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DIGESTIONS

A mass of questions.

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Louiseann King, solis, 2018 // Art Gallery of Ballarat, Ballarat | If I wrote an essay about this art work it would be called 'Colonial White Australian Femininity: idleness and ephemerality'. King has responded to a number of colonial Australian artworks in the Art Gallery of Ballarat's collection to create this wonderful installation. These artworks, curated specially around this room, are reflected, refracted and captured by her objects, including polished wooden pedestals, cast bronze birds, pressed flowers, crocheted Australia emblems and glass cloches. This response itself spawns another thousand responses that bounce off eachother and pull me in numerous different directions. In viewing it I felt inspired to think and talk and discuss and engage. A worthy attribute for any artwork. | @mase_windu

Daniel Von Strurmer, Cataract, 2018 // Anna Schwartz Gallery, Melbourne | This work is incredibly important and vivid for me. While I was in the gallery I made some notes on my phone and I thought I would just list them here as my thoughts about the work: A way to make screens unfamiliar to us again. To regain a sense of novelty, awe or interest when normally our eye would just glance over any screens that cross our path. Arresting in its visual approach and it's visible construction. Celebrating the everyday and the mundane. As the real world filtered through our phones. Overwhelming positive. Pro technology, pro smart phones, pro progress. It position mediated images as our reality, acknowledging how much of our reality is experience through video and screen, is at once an ode to this contemporary condition and a call to awareness and consideration of it. Is the mediation and the screen making these moments more beautiful and interesting? Yes! Cataract in the circles and the vibrations captured in the videos but also in the flickering movement of your eye as you are draw to certain visuals across the wall. Suddenly you see three four or five of the same visual at once and then it is gone and your eye is left once again searching over all of the new information. | @mase_windu

Nick Cave, 2016 // Until, Carriageworks, Sydney | At once infinite and intimate, finite yet kaleidoscopic, both garish and hypnotic, the more beautiful I found this exhibition the more frightened I became. Moving through these works I felt surrounded: threatened not enveloped in this mesmerising suspended galaxy. It is, in all its beauty, strangely alienating. Here is a thousand tiny universes that all contain contradictions and refract their own light in an intimidating way. Each piece by Missouri artist Nick Cave is named mythically: Crystal Cloudscape, Flow/Blow, Kinetic Spinner Forest, but they all make an emphatic point about gun violence and the spectre of racism in America. This weirdly violent Wonderland contains glittering teardrops, spinning handguns and spray-painted racist gnomes. The gallery wide installation sprawls across three rooms and countless media, forcing us to be amazed but also afraid of its overwhelming and overpowering presence. I felt miniature and mundane in its vastness. | @sashapotatoes

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