Kunstlerhaus Bethanien, Berlin
13 – 29 March, 1987
Australian Centre for Photography, Sydney
25 November – 20 December, 1987
The Institute of Modern Art, Brisbane
Gertrude Street Gallery, Melbourne
Chameleon Gallery, Hobart
Claybrook Gallery, Auckland
Dubai Photo Exhibition
16 – 19 March, 2016
A postmodern exploration of European painting conventions of the 16th and 17th century through the contemporary lens of the 20th Century, produced during a residency at the Künstlerhaus Bethanien, Berlin during 1986-87.
This work draws on the aesthetic conventions of seventeenth century Dutch genre painting, utilizing the formal elements of their compositions, while reinvesting them with references to contemporary life. Through the insertion of biographical details via anachronistic elements, and within plays of humour, parody and melodrama, these devices are a way of bringing into question (or seeking to understand) the influence of European culture and the nature of its encumbent value system.
They blur the difference between true and false by presenting an order in which broken identities and anachronisms have their place. The imitations are obvious, the copies unconcealedly such. Admitted hypocricy and cheerful masquerade. Ridicule that accepts the damage. And the nostalgic staging, too, is an alibi to drive away, with an amused countenance, even the sense with which an artificial mythos would like to infuse the empty forms.”