I could get cosmic about the Gladwell’s art and write about the spinning fat god that is the turning universe. I could art historical and refer to Gladwell’s references to Turner and Caspar David Friedrich. Or examine his cinematic references to Mad Max and Ozploitation films. Instead, due to my interest in street art, I saw something else in Gladwell’s art a kind of physical graffiti.
Shaun Gladwell is most famous for his video “Storm Sequence” (2000) (it is not in the ACMI exhibition) but how did he come to this? I vaguely remember some of his early paintings. Joanna Mendelssohn reviewing Shaun Gladwell’s exhibition at Sherman Galleries in Sydney has clearer memories of these paintings. Mendelssohn notes that Gladwell started painting giant copies of Penguin paperback classics. (Artlink Vol 23 no.3 2003) There is nothing of this early phase in Gladwell’s art in the ACMI exhibition. There are still a couple of minor works on paper scattered through out ACMI’s exhibition but they are largely incidental. One drawing, “Untitled” (2011) does provide a key to Gladwell’s art showing a diagram of train surfing yoga positions.
When Gladwell stopped focusing on painting and drawing and turned to video he was able to better integrate his art and his own life. Videos of Gladwell’s street movement; skateboard riding in “Storm Sequence” or hanging from the handrails of a Sydney train in “Tangara” (2003) became the foundation for his video art. Using BMX riders, break dancers, graffiti artists, skateboarders, pole dancers for his videos – this is physical graffiti.
Contemporary movement defines space in a creative, interactive way: what can be done with this space, what orders can be found, explored, used and created. Movement and perspective are not determined by the space but by the person using the space. This is body art as an urban intervention, captured in the locations and the momentum in Gladwell’s videos. In his photographs of the rollerblading police at the Louvre Gladwell is documenting changes in contemporary movement. “Planet & Stars Sequence: Bondi” (2011) looks at the movements of an aerosol art busker routine.
“Shaun Gladwell: Stereo Sequences” in the large Gallery 1 space at ACMI is the first in what ACMI promises to be a series of commissioned new works by ”leading Australian and international contemporary artists.” The horizontal tracking and the walk through “Parallel Forces” (2011) curiously reminded me that the long Gallery 1, deep under ACMI, was once a platforms at Flinders Street Station. It is an engaging exhibition and I hope that has an influence on Melbourne’s street art scene.