MORE GROUND Exhibition       More ground      
  
 
  
    
  
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      The first point to make is that any exhibition worth its salt begins not with reason, but with feeling: a feeling not only for certain objects or practices and how they might interact in space, but how they might suggest something that is larger than the sum of their individual parts.     The second point follows on from the first:     Two practices together may achieve something entirely different than either practice achieves alone.    More ground    features the work of two artists. They work in different ways, and from vastly different places, but each draws their thread from photography, and makes with it something new.     One, Robert Fielding, is a man from the Anangu Pitjantjatjara Yankunytjatjara (APY) community of Mimili. He’s of Yankunytjatjara, Afghan and Arrernte descent, a lineage that speaks directly to the desert’s cosmopolitan past. Born in 1969, Fielding is a family man, a father to nine children named with such distinctive flair that I can’t help but recount them here in full:     Zaachariah, Zaavan, Zibeon, Zeldon, Payrozza, Partimah, Peshwah, Priayangka and Zedekiaha.    The second artist, a painter, is Matt Arbuckle. He was born in Auckland and after a time in Berlin now lives and works in Melbourne.     There are connections between the two but they are left open, or at least open enough for us to think in the spaces that lie between. There’s a clear sense of  why  we are looking at these artists together, but one simultaneously feels a more inchoate underlying architecture, something more uncertain, more compelling in its cast.     Arbuckle’s paintings slump, their surfaces clouded with erasures and re-workings. They begin with photographs, randomly taken, and are incrementally pushed away from the certainty of these sources. A sense of urban entropy often shadows them: a vacant lot, perhaps a portion of crumbling brickwork. But that’s only because we know where each painting began. If we were ignorant of their basis in photography, we’d see painting alone: marks made by hand on a flat surface, a series of decisions that draw each work towards one of its many possible conclusions. This is photography as armature, nothing more.    Fielding also reworks photographic images – an abandoned vehicle sinking in desert sands, family members posed against dark backgrounds, urban refuse hanging in a desert tree. Unlike Arbuckle he keeps his photographic source legible. When he paints back into them he does so not to erase them, but to relocate their power in the moment of production; to push against photography’s endless reproducibility by way of unique mark-making, by way, that is, of painting. Fielding’s images are pierced by dotting, the  lingua franca  of the desert art movement. In this way the light gets through, each image becomes invested with an icon-like aura that the photograph alone fails to capture.     More ground    revels in the provisionality of these connections. It articulates them, but leaves them hanging. Two artists who have never met, each of whom make their art on opposite sides of Australia’s cultural divide. Photography provides a common frame but there’s also something else: there’s a link, but a clear distance. We are reminded that photographs give us dead images. Painters, driven by the tactile logic of touch, can’t help but re-engage them, to reinvest them with life.     There’s a feeling there, a place that each of these artists begins that is hard to articulate yet central to each.     Any decent exhibition – just like any decent practice – must begin here.    - Quentin Sprague       
       
     
 Robert Fielding  Punu ananyi (Travelling Tree)  2016 Acrylic and screen print on linen 90 x 140cm SOLD
       
     
 Robert Fielding  Palawa Pakata Tjukurpa (The flour bucket holds many stories)  2016 Acrylic and screen print on linen 90 x 140cm SOLD
       
     
 Robert Fielding  Mutaka Katalypa (Car wreck)  2016 Acrylic and screen print on linen 90 x 140cm SOLD
       
     
 Robert Fielding  Mutaka Katalypa (Car wreck)  2016 Acrylic and screen print on linen 90 x 140cm $5500
       
     
 Robert Fielding  Tili Nyanganyi (I see the light)  2016 Photograph and light box 90 x 140cm SOLD
       
     
 Matt Arbuckle   Not Titled  2016 Photograph Collage on Found Paper, 20 x 26cm SOLD
       
     
 Matt Arbuckle   Out Too Late  2016 oil on cotton, 178 x 152cm $8200
       
     
 Matt Arbuckle   See Where I Am  2016 oil on cotton, 178 x 152cm SOLD
       
     
 Matt Arbuckle   Three Colours Blue  2016 oil on board, 80 x 60cm SOLD
       
     
 Matt Arbuckle   Plein  2016 oil on board, 80 x 60cm $2800
       
     
 Matt Arbuckle   Not Titled  2016 Aerosol & Photograph Collage on Found Paper, 29 x 21cm SOLD
       
     
 Matt Arbuckle   Not Titled  2015 Acrylic on Found Photograph, 29 x 21cm SOLD
       
     
 Matt Arbuckle  Grom  2016 oil on board 120 x 91cm $4500
       
     
 Matt Arbuckle Untitled  2016   oil on cotton,   178 x 152cm SOLD
       
     
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 MORE GROUND Exhibition       More ground      
  
 
  
    
  
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      The first point to make is that any exhibition worth its salt begins not with reason, but with feeling: a feeling not only for certain objects or practices and how they might interact in space, but how they might suggest something that is larger than the sum of their individual parts.     The second point follows on from the first:     Two practices together may achieve something entirely different than either practice achieves alone.    More ground    features the work of two artists. They work in different ways, and from vastly different places, but each draws their thread from photography, and makes with it something new.     One, Robert Fielding, is a man from the Anangu Pitjantjatjara Yankunytjatjara (APY) community of Mimili. He’s of Yankunytjatjara, Afghan and Arrernte descent, a lineage that speaks directly to the desert’s cosmopolitan past. Born in 1969, Fielding is a family man, a father to nine children named with such distinctive flair that I can’t help but recount them here in full:     Zaachariah, Zaavan, Zibeon, Zeldon, Payrozza, Partimah, Peshwah, Priayangka and Zedekiaha.    The second artist, a painter, is Matt Arbuckle. He was born in Auckland and after a time in Berlin now lives and works in Melbourne.     There are connections between the two but they are left open, or at least open enough for us to think in the spaces that lie between. There’s a clear sense of  why  we are looking at these artists together, but one simultaneously feels a more inchoate underlying architecture, something more uncertain, more compelling in its cast.     Arbuckle’s paintings slump, their surfaces clouded with erasures and re-workings. They begin with photographs, randomly taken, and are incrementally pushed away from the certainty of these sources. A sense of urban entropy often shadows them: a vacant lot, perhaps a portion of crumbling brickwork. But that’s only because we know where each painting began. If we were ignorant of their basis in photography, we’d see painting alone: marks made by hand on a flat surface, a series of decisions that draw each work towards one of its many possible conclusions. This is photography as armature, nothing more.    Fielding also reworks photographic images – an abandoned vehicle sinking in desert sands, family members posed against dark backgrounds, urban refuse hanging in a desert tree. Unlike Arbuckle he keeps his photographic source legible. When he paints back into them he does so not to erase them, but to relocate their power in the moment of production; to push against photography’s endless reproducibility by way of unique mark-making, by way, that is, of painting. Fielding’s images are pierced by dotting, the  lingua franca  of the desert art movement. In this way the light gets through, each image becomes invested with an icon-like aura that the photograph alone fails to capture.     More ground    revels in the provisionality of these connections. It articulates them, but leaves them hanging. Two artists who have never met, each of whom make their art on opposite sides of Australia’s cultural divide. Photography provides a common frame but there’s also something else: there’s a link, but a clear distance. We are reminded that photographs give us dead images. Painters, driven by the tactile logic of touch, can’t help but re-engage them, to reinvest them with life.     There’s a feeling there, a place that each of these artists begins that is hard to articulate yet central to each.     Any decent exhibition – just like any decent practice – must begin here.    - Quentin Sprague       
       
     

MORE GROUND
Exhibition
 

More ground

 The first point to make is that any exhibition worth its salt begins not with reason, but with feeling: a feeling not only for certain objects or practices and how they might interact in space, but how they might suggest something that is larger than the sum of their individual parts.

The second point follows on from the first:

Two practices together may achieve something entirely different than either practice achieves alone. More ground features the work of two artists. They work in different ways, and from vastly different places, but each draws their thread from photography, and makes with it something new.

One, Robert Fielding, is a man from the Anangu Pitjantjatjara Yankunytjatjara (APY) community of Mimili. He’s of Yankunytjatjara, Afghan and Arrernte descent, a lineage that speaks directly to the desert’s cosmopolitan past. Born in 1969, Fielding is a family man, a father to nine children named with such distinctive flair that I can’t help but recount them here in full:

Zaachariah, Zaavan, Zibeon, Zeldon, Payrozza, Partimah, Peshwah, Priayangka and Zedekiaha.

The second artist, a painter, is Matt Arbuckle. He was born in Auckland and after a time in Berlin now lives and works in Melbourne.

There are connections between the two but they are left open, or at least open enough for us to think in the spaces that lie between. There’s a clear sense of why we are looking at these artists together, but one simultaneously feels a more inchoate underlying architecture, something more uncertain, more compelling in its cast.

Arbuckle’s paintings slump, their surfaces clouded with erasures and re-workings. They begin with photographs, randomly taken, and are incrementally pushed away from the certainty of these sources. A sense of urban entropy often shadows them: a vacant lot, perhaps a portion of crumbling brickwork. But that’s only because we know where each painting began. If we were ignorant of their basis in photography, we’d see painting alone: marks made by hand on a flat surface, a series of decisions that draw each work towards one of its many possible conclusions. This is photography as armature, nothing more.

Fielding also reworks photographic images – an abandoned vehicle sinking in desert sands, family members posed against dark backgrounds, urban refuse hanging in a desert tree. Unlike Arbuckle he keeps his photographic source legible. When he paints back into them he does so not to erase them, but to relocate their power in the moment of production; to push against photography’s endless reproducibility by way of unique mark-making, by way, that is, of painting. Fielding’s images are pierced by dotting, the lingua franca of the desert art movement. In this way the light gets through, each image becomes invested with an icon-like aura that the photograph alone fails to capture.

More ground revels in the provisionality of these connections. It articulates them, but leaves them hanging. Two artists who have never met, each of whom make their art on opposite sides of Australia’s cultural divide. Photography provides a common frame but there’s also something else: there’s a link, but a clear distance. We are reminded that photographs give us dead images. Painters, driven by the tactile logic of touch, can’t help but re-engage them, to reinvest them with life.

There’s a feeling there, a place that each of these artists begins that is hard to articulate yet central to each.

Any decent exhibition – just like any decent practice – must begin here.

- Quentin Sprague

 

 Robert Fielding  Punu ananyi (Travelling Tree)  2016 Acrylic and screen print on linen 90 x 140cm SOLD
       
     

Robert Fielding
Punu ananyi (Travelling Tree)
2016
Acrylic and screen print on linen
90 x 140cm
SOLD

 Robert Fielding  Palawa Pakata Tjukurpa (The flour bucket holds many stories)  2016 Acrylic and screen print on linen 90 x 140cm SOLD
       
     

Robert Fielding
Palawa Pakata Tjukurpa (The flour bucket holds many stories)
2016
Acrylic and screen print on linen
90 x 140cm
SOLD

 Robert Fielding  Mutaka Katalypa (Car wreck)  2016 Acrylic and screen print on linen 90 x 140cm SOLD
       
     

Robert Fielding
Mutaka Katalypa (Car wreck)
2016
Acrylic and screen print on linen
90 x 140cm
SOLD

 Robert Fielding  Mutaka Katalypa (Car wreck)  2016 Acrylic and screen print on linen 90 x 140cm $5500
       
     

Robert Fielding
Mutaka Katalypa (Car wreck)
2016
Acrylic and screen print on linen
90 x 140cm
$5500

 Robert Fielding  Tili Nyanganyi (I see the light)  2016 Photograph and light box 90 x 140cm SOLD
       
     

Robert Fielding
Tili Nyanganyi (I see the light)
2016
Photograph and light box
90 x 140cm
SOLD

 Matt Arbuckle   Not Titled  2016 Photograph Collage on Found Paper, 20 x 26cm SOLD
       
     

Matt Arbuckle
Not Titled
2016
Photograph Collage on Found Paper,
20 x 26cm
SOLD

 Matt Arbuckle   Out Too Late  2016 oil on cotton, 178 x 152cm $8200
       
     

Matt Arbuckle
Out Too Late
2016
oil on cotton,
178 x 152cm
$8200

 Matt Arbuckle   See Where I Am  2016 oil on cotton, 178 x 152cm SOLD
       
     

Matt Arbuckle
See Where I Am
2016
oil on cotton,
178 x 152cm
SOLD

 Matt Arbuckle   Three Colours Blue  2016 oil on board, 80 x 60cm SOLD
       
     

Matt Arbuckle
Three Colours Blue
2016
oil on board,
80 x 60cm
SOLD

 Matt Arbuckle   Plein  2016 oil on board, 80 x 60cm $2800
       
     

Matt Arbuckle
Plein
2016
oil on board,
80 x 60cm
$2800

 Matt Arbuckle   Not Titled  2016 Aerosol & Photograph Collage on Found Paper, 29 x 21cm SOLD
       
     

Matt Arbuckle
Not Titled
2016
Aerosol & Photograph Collage on Found Paper,
29 x 21cm
SOLD

 Matt Arbuckle   Not Titled  2015 Acrylic on Found Photograph, 29 x 21cm SOLD
       
     

Matt Arbuckle
Not Titled
2015
Acrylic on Found Photograph,
29 x 21cm
SOLD

 Matt Arbuckle  Grom  2016 oil on board 120 x 91cm $4500
       
     

Matt Arbuckle
Grom
2016
oil on board
120 x 91cm
$4500

 Matt Arbuckle Untitled  2016   oil on cotton,   178 x 152cm SOLD
       
     

Matt Arbuckle
Untitled
2016
oil on cotton,
178 x 152cm
SOLD

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