Review by Geoff Gibbons
Afterlife is the inaugural exhibition for a new gallery in the western suburbs of Adelaide that features spacious well lit exhibition spaces occupying the first floor of a modern building. The gallery is the initiative of Margie Sheppard, whose vibrant multi-plate colour etchings can be seen in several interstate galleries.
This exhibition of prints brings together a selection of work by many of Adelaide’s leading contemporary printmakers. Curated by Christobel Kelly artists were asked to consider the theme of ‘afterlife’, invoking the analysis of ruins and ruination as described by Walter Benjamin in his Arcades Project.
A number of the fourteen artists represented have explored the potential of working with the randomness of marks left as a trace of earlier projects. Lorelei Medcalf’s exquisite artist’s book comprises collaged segments from etchings that take on hybrid forms constructed from industrial landscapes and plants, all made from a richness of mark making textures. Similarly Simone Tippett has explored the ghost print‘s relationship to its source, in this case a heavily corroded metal plate. She achieves a sense of transience in the subtle traces made on strips of monoprinted paper that seem to hover somewhere between real time and remembered time.
Olga Sankey references a key concept in Benjamin’s analysis, that of the capacity of ruined objects to divulge insights into their former life. Her paired images can refer to the aftermath of actions, the consequent transformation from abundant life (bloom) to alternate states (burn/blush). Altered states feature in Aleksandra Antic’s long scroll-like silkscreen, giclee and monoprint. Taking as her point of departure an eroded fence that separates a section of the Botanic Gardens from the Royal Adelaide Hospital, the perforations become points of connection providing glimpses into very different social spaces.
Michele Lane’s series of intaglio prints reference the destruction of the Baalshamin temple at Palmyra in Syria. If Benjamin believed that ruination could lay bare the truth of an object one truth is surely that it is impossible to maintain permanence and continuity in a mutable world. Sandra Starkey Simon engages with a related subject in her large screenprint, collagraph and stencil print Firestorm which references the periodic destruction of the city of Magdeburg. Amid the piles of rubble signs of former lives can sometimes be found and even new life in the form of chrysalises.
Suzie Lockery’s frieze like print evokes cosmic realms complete with an oval shaped portal that suggests access to other states, even to other parts of the universe. The shimmering points of light on the surface of the portal evoke the myriad of stars in our galaxy. Flanking images recall the background static that is now believed to be the aftermath of the big bang when the universe was a cauldron of intense heat.
Joshua Searson plays with screenprinted images of early film posters. Their fragments recall the layers of torn and over-pasted prints that once adorned the walls and display stands of cities throughout the world. These prints also reference Benjamin’s concept of the Dream World to describe the way that consumer goods and mass culture epitomised by Hollywood films can become the source of an alternative fantasy world that is both seductive and illusory.
This exhibition exemplifies a renewed interest in finding new forms of visual language derived from printmaking that are richly allusive yet capable of engaging the viewer for their graphic qualities.
Geoff Gibbons is a foundation member and chairperson of Bittondi Printmakers Association Inc. that was formed in 2008 to provide an access workshop for artist-printmakers. He has taught printmaking in TAFE and at the Adelaide Central School of Art where he currently lectures in art history and theory.