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a line between two trees

March 13 - April 14, 2020

 
 
Front Gallery - Installation 1
 
Front Gallery - Installation 2
 
Front Gallery - Installation 3
 
Anne Noble’s new exhibition, a line between two trees is a beautiful and considered installation. Noble would have us see in the dark, or into realms beyond the visible, and this is a breath-taking thing. Whether it be day’s last light on a eucalypt, scanning film buried in earth to capture conversation between trees, or just having fun with “shooters” in kauri forest after dark, Noble playfully explores photography’s ability to make visible both time, and that which lies hidden or within. And she does this via photographic language that is seriously poetic, evocative and often abstract.
 
The artist’s book a line between two trees, Observations from the Critical Zone II with pages laid out open is more than seven metres long. Yet its suggestions are intimate, like an interrogation of pink moss and lichen with black holes of non-communication. In fact, the black registers film emulsion that has been eaten away by the soil’s chemical environment. (Noble having buried the film for 2488 hours.) And the pink is Noble’s scanner balanced for human skin tone in daylight – utterly consistent with Kodak film setting.
 
Front Gallery - Installation 4
 
a line between two trees - Observations from the Critical Zone IIa line between two trees - Observations from the Critical Zone II
 a line between two trees - Observations from the Critical Zone IIa line between two trees - Observations from the Critical Zone II
 
Still, this is the context of the visual and the metaphorical. Tree is an archetypical tree photograph, in which Noble is whittling away at George Chance’s famous pictorialism with almost wiccean intent. And in Nocturnal Assembly III, Trounson Kauri Forest, Northland, Noble really is dancing in the dark. All eighteen pigment prints pulsate with life as skeins and ribbons of light swell and unfurl through the blackness. Impressions vary – things are blurred and spectral. Foliage and branches are present. Pests might also be present. And within this marvelous vitality of form, there is more than just the suggestion of a witch’s broomstick!

JS.
 

Selected works

Please hover over image to see title...

 

Nocturnal Assembly III, Trounson Kauri forest, Northland

a line between two trees - artist book

Tree (framed), 2018/2020

 

List of works

Nocturnal Assembly III, Trounson Kauri forest, Northland, 2020       18 Pigment prints on 340gsm Canson Baryta paper       1/3      1260 x 3820mm       $20,000 GST inc.

a line between two trees, Observations from the Critical Zone II, 2018/20       Artist's book — pigment print      1/10     430 x 7175mm      $10,000 GST inc.

Tree (framed), 2018/20       Pigment print on 310gsm Canson Baryta paper       1/5      1425 x 1030mm       $7950 GST inc.

 

Segue

March 13 - April 14, 2020

 
 
Back Gallery - Installation 1
 
Julia Morison is the queen of segue, shifting quietly between subject realms and between materials usually with richness and graphic grace. We might say that the segue is her signature move, and now it is the title of her latest show.

In this suite of paintings Morison glides between suggestions of the body, in Segue#4 and Segue#5 for example, to more abstract realms of painting. The agency of this is line. In Segue#1 ribbons of black twirl through the painting, twining around a much broader form still of the DNA, line. Drybrushed white over dark enhance this wrapping of form. There is a knot within a knot, checked black and white squares within a larger compositional grid, and movement confined but voluminous nonetheless.
 
Segue I
Segue VI
Segue I, 2020
Segue VI, 2020
 
 
Back Gallery - Installation 3
 
Morison uses squares of (near-saturated) colour in all six paintings to describe this over-riding structural grid, which can at times stop line in its tracks but usually does not. The effect is playful and fun. In Segue#II line broad and black is satisfyingly intertwined with a fine, voluptuous grey line – the former punctuated by dashes of majestic red. All edges are clean. In Segue#VI however, the black and grey lines are treated differently. Both are painted haltingly with a brush, so they feel more quirky, human or of the hand. Therein lies the segue, the magic of this show – as Morison shifts across abstract and figurative languages of painting via marks that suggest the hand to those sharper, more even and machine-like in feel.

Segue the aquatint (with thanks to Kate Unger at Watermark Printworkshop), reverses the visual punch of the paintings. It offers whites in a deliciously dark field. Between electrodes or tendrils of nerve or neuron, there are pathways swarming through the dark. This is a rich, mysterious existence – quite different to the cooler white fields of the paintings. Again, the invitation is to segue between.
 
JS.
 

Selected works

Please hover over image to see title...

 

Segue I
Segue II

 

Segue III
Segue IV

 

Segue V
Segue VI

 

List of works

Segue I, 2020       acrylic and varnish on canvas      2000 x 1500mm       $32,000 GST inc.

Segue II, 2020       acrylic and varnish on canvas      2000 x 1500mm       $32,000 GST inc.

Segue III, 2020       acrylic and varnish on canvas      2000 x 1500mm       $32,000 GST inc.

Segue IV, 2020       acrylic and varnish on canvas      2000 x 1500mm       $32,000 GST inc.

Segue V, 2020       acrylic and varnish on canvas      2000 x 1500mm       $32,000 GST inc.

Segue VI, 2020       acrylic and varnish on canvas      2000 x 1500mm       $32,000 GST inc.

Segue (framed), 2020     aquatint      ed. of 20    1000 x 775mm       $3,900 GST inc.