Monday, 6 June 2016

The Wild Swan Art Group from Western Australia - Towards Uncharted Aesthetic Horizons

   
Some of the Audience 

Gallery Opera Labo would like to thank all those who came to the opening for this first exhibition by the following artists Duncan McKay, Connie Petrillo Caspar Fairhall, Kevin Robertson, Cynthia Ellis, Peter Davidson, Michael Doherty, John Cullinane, Chelle Bourne, Lynne Norton and Diokno Pasilan from the Wild Swan Art Group in Japan, from all reports it was well received and the Gallery looks forward to working  with these artists in the near future again please, enjoy the exhibition photographs. 



Party 





Some of the artworks on exhibit below



Connie Petrillo - Portrait of a Girl Year 2016          
Media Archival Print on Hahnemühle Fine Art Photo Rag Ed. 1 of 5


Cynthia Ellis 
Blue Series 
 oil on canvas  
13cm h x 33 w



Peter Davidson 
Mum
pencil on arches paper





Michelle Bourne 

Textural Study through nature no 1 
2016 acrylic in paper 
13.5 cm h x 13.5cm w

Article by Peter Davidson

Wednesday, 1 June 2016

Hanging the Artworks of the Wild Swan Art Group



Artist Caspar Fairhall
title: Projection/ MMXVI
medium: Watercolour on Arches paper
size: 21 cm h x 21 cm w


Today at Gallery Opera Labo the artworks from the Wild Swan Art Group were hung in Japan and it looks outstanding, in some ways it takes one back to the mid nineteen eighties at the Art Gallery of Western Australia, when as a young student I would go and study the landscapes of Guy Grey Smith, Mac Betts and George Haynes for there was something so fresh and alive about viewing  such artworks and this show resonates that feeling. 

Maybe in the nineteen eighties in Perth these aforementioned western artists were travelling to the interior of desert regions and bringing back images of first contact of alien like terrain, not only for themselves but the those who also lived on the green fringe of Australia, they were mesmerising in colour, extremely sublime and so freshly idiosyncratic in vision.

When one looks at this exhibition by the following members being Duncan McKay, Connie Petrillo, Caspar Fairhall, Kevin Robertson, Cynthia Ellis, Peter Davidson, Michael Doherty, John Cullinane Chelle Bourne, Lynne Norton and Diokno Pasilan there is that same crisp sensation and  passion resonating from within these artworks but in another time and in another country. 

On this page there is two images the first being Caspar Fairhall's watercolour painting titled: Projection/ MMXVI and he constructs some very interesting ideas about time with the influence of delay in praxis, as he doesn't paint at the speed of light. 

For example, if light is being projected it travels at about one foot a nanosecond and to get a idea of just how extreme Fairhall's very camouflaged image making is about, here is some information about time;

A nanosecond (ns) is a SI unit of time equal to one billionth of a second (10−9 or 1/1,000,000,000 s). One nanosecond is to one second as one second is to 31.71 years.

Link to Wikipedia
https://en.wikipedia.org/wiki/Nanosecond


Fairhall's  artwork Projection/ MMXVI seems to use the audiences optics to realise his theory in praxis as the watercolour painting is painted object to test his praxis time concepts with the audiences sight in a nanosecond as they recognise his artworks, its clever .





Artist:   John Cullinane 
            title: A Thought  2010                  
medium: oil on cotton  
size: 30 cm h x 23 cm w


In John Cullinane's above painting titled: " A thought" resonates a particular human condition, maybe a kind of phobia (of which humans if they didn’t have located with their mental system may well not survive for very long as it protects you at times) with the two humans featured in this  painting, existing within the one person. And strangely, one didn't think Simultaneity (happening at the same time) could exist due to the complexities of time but if the earth is a living organism, then all things associated with it must live within the same time frame, in unity and diversity and to paint this is not an easy thing to do but Cullinane succeeds very well. 

Whilst viewing Culinane's painting one starts to realise that humans live and survey there space in present time, as it soon flows into history to be organized  into some sort of  sensorial response with influence, that may be good or effected by some human condition caused either externally or internally.  Again as in Fairhall's painting uses time so does Cullinane but in a different way, his draws out human condition. 

The artworks within this small but brilliant show produces some compelling viewing by Western Australian artists making it a very like able and savvy contemporary exhibition in the now, it is long overdue to travel internationally.

Article by Peter Davidson