What is it to look? To perceive clearly what is in front of you. To examine a landscape with the eye. To see the slight variations in the chaotic patterns. To notice. On average a person in an art gallery look at a work of art for only a few seconds but what if it was your job to look? In this post I will be looking at the current exhibitions the Counihan Gallery in Brunswick where there are two exhibitions about looking at landscapes.
Simon Grennan’s “Almost Like A Reality: The Landscape and its Subjects” refers to the history of the Australian landscape both as art subject and as a forensic site. Twenty-six oil paintings with an Australian bush landscapes with gothic element. What are the professional emergency services personnel searching for? Someone who is lost, recovering a dead body or is it a crime scene?
There are clear references in Grennan’s paintings to the Heidelberg School, particularly Tom Roberts and Fred McCubbin’s 1886 plein-air painting in the bush that is now Melbourne’s suburbia: from McCubbin’s Lost, to The artists’ camp by Tom Roberts. Robert and McCubbin’s camp site was about a mile south of Box Hill railway station near Damper Creek (now Gardiners Creek).
In her exhibition, “The Dreamers”, Kirstin Berg explores the landscape, finding bush debris, clothing, reclaimed timber and transforming them into a dreamscape. It is a landscape of extreme contrast between black and white, the shadow and the highlight. This surreal landscape is furnished; the chairs like Dali’s stilt walking elephants, a bed that is impossible to sleep on and all the solid linen soaked in plaster. For more on Kirstin Berg read an interview with her by Camilla Wagstaff in Art Collector about her 2016 exhibition at Gallery Smith.
Outside the Counihan, part of the gallery’s annual Winter Night Screen Project, is Ash Coates’s Mycolinguistics (Rubico-Sterolosis or Oneness) 2017. In 2017 Time Out listed Coates piece as one of “the 9 best projections at Gertrude Street Projection Festival” although this time it is not projected onto the building. Coates’s digital animation is of a colourful alien landscape like a microscopic world of fungal life. It is visible and audible (with a soundscape by Alister Mew) from outside the gallery; waiting for the tram on a cold, wet winter’s night with one eye on the screen and one eye on Sydney Road.