Meg Buchanan, Laminal 5, 2016, acrylic on canvas, 92 x 152 cm
Anita McIntyre, Kimberley, 2016, porcelain clay, monopint, 81 x 111 x 5 cm
G.W.Bot, Grassland Glyphs, 2016, linocut on kozo paper, 94 x 64 cm
Megan Hanrahan explores Three Ways: G.W.Bot, Meg Buchanan, Anita McIntyre with exhibition curator Peter Haynes.
Three Ways centres around the deep connection of three artists, Meg Buchanan, Anita McIntyre and G.W. Bot with the Australian landscape. The title not only refers to these women exploring their connection with the country, but also alludes to three varied methods they use to convey the meaning behind their art.
‘I think the best and strongest expressions of Australian art have not just historically but also contemporaneously come from relation to the Australian landscape,’ says curator Peter Haynes. The exhibition explores this relationship through the eyes of the artists. ‘I don’t think self expression that landscape elicits needs to be a realist landscape… the best landscapes are the poetic ones, the ones that make you think about what you’re looking at, and why the artists have chosen to do their depiction of the landscape in the way that they have.’
Anita McIntyre’s work throughout her career has in many ways been informed by places such as the North West Kimberley and the open central desert. In Three Ways her use of ceramics, embedded with lino prints, allows for a raw and eloquent reflection of a tangible connection between artist and environment. Portraying her relationship with Australian landscape in a similar way, G.W. Bot, whose artist’s name and adopted totem refers to one of our most iconic animals (an early French citation of le Grand Wam Bot, or Grand Wombat), uses prints, paintings and sculptures to engage with Australian nature. Her connection with the land is evident through both her working name and her art. Glyph motifs reoccur in many pieces of her work, and can also be found in the Three Ways exhibition, resulting in intricate and detailed pieces. Meg Buchanan uses mixed techniques to create landscapes which are rich with colour, and convey and analyse the vast spaces of Australia, as well as in some instances, the human place within it.
‘Landscape embraces things like ecology, environment, politics… and each of the artists, even if it is not overt, make reference to all the wider elements that encompass what landscape is,’ Haynes says. He was inspired to curate the exhibition by a desire to portray the work of artists with whom he has worked in the past, and whose work he admires.
‘I chose the artists and as curator was closely involved with the display.’
The space is also a crucial element in Three Ways. ‘It has to make people understand the reasons why things are in the exhibitions, you have to establish a certain relationship. It is very important where things go, and how they’re placed within the overall… configuration of the gallery. Ultimately they need to convey what one is trying to say in the exhibition with these three views of landscape, and what they [communicate] to one another.’