There is a Lynchian style to the paintings of Dianne Gall. It is a surreal film noir quality mixed with meticulous chosen design elements. Lush elements of American art deco or classic designs from the 1950s create a serene surface that suggests a dark, mysterious underneath.
Femme Noir at the Catherine Asquith Gallery is the exhibition of figurative oil paintings by Adelaide based artist, Dianne Gall. This is Gall’s first solo exhibition in Melbourne although she has been exhibiting in Adelaide and Canberra for years.
Many of Gall’s paintings remind me of David Lynch’s 2001 film, Mulholland Drive. Not that the images are from the film or even America, Gall has found locations and local fashions designers in Adelaide with the right ambience. Her earlier paintings on exhibition reminded me of film stills, their muted, almost monochrome, palette suggesting classic film noir images, but the more recent paintings in the exhibition are definitely Lynchian.
What is about these images that makes them Lynchian, mysterious and surreal? Disconnection seems to be the key. In one of Gall’s paintings, Disconnection, 2012, we see the back of a woman through a doorway looking at a painting in a room with geometric wallpaper. There have been a lot of “disconnects”, to use the newspeak of the US Army, in the international modern lifestyle. The modern world is disconnected from both time and place; it is international and atemporal, like an airport lounge bar. There is a disconnection between the material reality and the existential – who are these mysterious women in Gall’s paintings and Lynch’s movies?
It is the second time this week that I have been reminded of David Lynch. William Forsythe used the opening scene from Inland Empire (2006) as part of the text for his dance piece, I Don’t Believe In Outer Space. There were many disconnections in his dance piece, the dancers each doing their own thing with an electronic soundtrack and verbal soundtrack going in other directions.