hmmm

double checking i'm doing Art and Representation this Wednesday.....

Another Kate Murphy

What is apparent upon first entering the gallery is the sparseness of the hang followed by the solitary voice of 'The Notes' narrator from the next room. This feeling of absence pervades the space along with the film work and is a beautiful analogue to the physical and emotional absence associated with loss. 'The Note' is the suicide letter of one of Murphy's distant relatives and the core for this exhibition.

The sound from the 10 minute single channel video work haunts the almost absent white cube style gallery and you are confronted with a single portrait devoid of its subject. In focus an old birdcage style microphone in front of a dark theater and a sea of empty seats. In the reflection of the glass the viewer experiences themselves alone on stage the same stage as 'The Notes' reimagined protagonist.

The solitary female figure stands on a stage addressing a nonexistent or imaginary audience with her back to camera her face never seen. The banality of her words is quite disconcerting and is so specific and personal that it at least at first glance, seems inaccessible to any but those who knew him/her. A pattern emerges between sung verse and spoken soliloquy, it becomes painfully apparent that the writer of 'The Note' was a very isolated person, as he/she appreciatively tallies and gives thanks to the few meager fragments of kindness to which he/she had clung. There is an almost hymn like quality to this song and at points we are not sure if we are observing a prayer or a final goodbye . A myriad of faceless characters are mentioned including the protagonist's doctor, who is expanded to become the subject of a fictitious therapy session and Murphy's other video work in this show. In the composition Murphy seems to embed a cross between the spotlights and the central character, this echoes the martyr like resignation to fate of our protagonist.

Upon the farthest gallery wall hangs the score to 'The Note' almost an artifact of the missing, this is then followed into the office space of the gallery and the illusion of absence is shattered. The remaining two photographic works take on a postcard quality and when thought of in this cluttered context and are simply out of sync of the shows greater thrust. This undermines to some degree the power of the rest of the show.

There is a lovely dark humanity in this work, especially the central video piece and the overall sensations associated with loss, place this work as a somber requiem to the many especially in the Australian society who have been affected by the loss born of suicide.

Kate Murphy "The Note"

Upon entering Breen Space it was not apparent to me at all that I would be leaving overwhelmed by an existential crisis! My first impressions of the space are clean, white, sparse professional gallery. There is little hung in the main space and the room in which the projection is screened is neatly tucked away behind a swish black curtain (the predominance of my gallery experience thus far has been artist run spaces…..although they have an undeniable charm).

The projection room is of good proportion to the screen and the room was private and quiet. This means something to me as I believe when watching a video or projection it is imperative for the viewer to be able to focus without interruption. In particular for a work like the one I was about to experience.

Without having read anything relating to the work previously, after only a few moments I was able to detect the sentiment intended. I’m not sure if this was because of my personal challenges with the topic ( I have lost a friend in the same fashion recently) or if it was the sombre and engaging tone of the piece.

Although having mentioned the qualities of the tone of the work, the presentation of “The Note” was surprisingly effective. A theatre that somewhat resembled a primary school assembly hall and a woman in a puce dress with an almost melodramatic theatrical voice instantly called on memories of uncomfortable and boring ( I might go as far to say cheesy…..sorry Kate) nights spent at suburban school plays. Alas, as soon as I let the words themselves sink in to my mind I was totally and emotionally enveloped. The writer of the note being an individual delivering themes that could extend to almost anyone, the score and song representing a universally embraced vehicle for emotional projection and last but making possibly the most important statement for the artist was the faceless body of the voice and absent audience. Wandering out into the main area of the gallery bleary eyed, the almost vacant walls in the main space, inhabiting only two stills from the video, become ever so apparent.

“The Note” has stayed with me since that day and has reminded me to have patience with what may not seem so appealing on first glance. It has reminded me to look beyond the exterior and aesthetics that I may disapprove of because there could be something far more important hiding behind them.

Woah, heaps emotional hey! But, that’s the reaction I got and I think this would be a success in the eyes of the artist!

Debra Dawes @ GBK

Although op art can be an intriguing cognitive experience, in general it fails to capture my imaginative and emotional engagement. However, after being invited into the artist residency space within the GBK Gallery in Waterloo, where Debra Dawes has been pottering away in her spare time at large scale geometric abstractionist works, I was struck by the simplistic, repetitive, process that such works allow the artist to engage in.

Being invited to play the voyeuristic witness to the humble tactile meditations of an individual allowed me to empathically engage with these works in a way that I would not have typically conceived.

'As an exercise to get herself into the right head space for working,' the curator explained, 'Dawes takes a tube of white paint to white canvas and squeezes a vertical line of paint in time with the length of her breath. Each new breath is a new line and in this way, the pattern created becomes a record of her body's own subtle rhythms.'

Similarly, another of Dawes colour based works recorded the rhythm of her art practice. For a number of months, Dawes created a series of canvases adding a new segment of colour according its size to the amount of time spent in the studio and its colour to her intuitive response to the work at the time. The resulting work became a visual record of her own lifestyle rhythms.

The main work which Dawes has been working on in this space is, as mentioned before, a large scale geometric abstractionist piece, which works on the principles of colour theory to create the illusion of depth to the canvas. It was interesting to witness the painstaking attention to detail which goes on for a work like this, each tiny section being masking taped off before painted to ensure the kind of clarity in line and form that is necessary for the overall success of Dawes intention.

Another aspect which engaged my curiosities was Dawes invitation to private poetry readings during her art making hours at GBK. In a statement titled Poetry in the Open Studio which the curator promptly dug up for me when I quizzed him a little further about Dawes intention here, she explains "I am interested...to understand the nature of poetry in relation to the creative process and the visual. I am also curious about the effect on ones cognitive pathways and the effect on one's thinking after a lengthy exposure to poetic structures and content." Although their is currently a vagueness about where this side project might lead, my curiosity was aroused by the hint at 'generation of further work,' something definitely worth keeping ears to the ground on.

Jonathan Jones at GBK

I really liked the GBK gallery, its atmosphere was much different to any other gallery I had previously visited. All formal etiquette of a normal gallery space was removed. I automatically felt really relaxed and welcome by the curator who personally talked to us about the works. I personally always feel awkward going to those talks with twenty strangers and standing somewhere near the back only hearing every second word.

I have to admit I enjoyed the Debra Dawes Exhibition the most, the whole process of working in the gallery, rather than a studio was really interesting and gave me a much further in-site into the process of art making. It would have been awesome to actually see her in the studio, maybe even read poetry to her. But mostly to ask her about her work in more detail.

I was surprised when I first saw Jones’s works; in the pictures they looked much smaller, in size and space. The way the light reflected onto the gallery floor made the works appear double there size, as double he size of each physical sculpture was needed to display them. The size of the works can be quite overwhelming, and realistically you don’t see that quantity or size of florescent lights very often. The juxtaposition of an everyday object transformed into something not every day and in a weird way very beautiful was really inspiriting and creative.

I felt the drawings around the installation were neglected and that they could have been positioned better. I actually didn’t notice them until the curator pointed them out. Positioning them higher or more centrally may have been more ideal. I don’t think anything would take your attention from the installation. The curator did mention that the work drawings were positioned so the fluorescent lights reflected upon them, although I felt this was insignificant and made the drawings appear less significant to the audience.

The relationship with the landscapes that Jones was inspired by were hard to draw a connection with. I personally struggled to see a connection wit any sort of landscape. I found it hard to visualise a man made consumer product, representing any type of landscape. My overall reaction to the exhibition was a positive one; I think more focus could be placed on the process, and positioning of the installation itself rather than complicated concepts. Regardless the work was beautiful.

Breenspace

Kate Murphy

Breenspace,

From the first moment I walked into the space I felt a sense of emptyness and isolation due to the amount of empty space with the exhibition.

Once walking into the large empty space you can feel the isolation due to the white painted dull walls which have nothing on one side except a medium sized photograph which is placed in the middle of one wall. The other side of the wall are enlarged music notes. The painting itself takes a very smal portion of the wall leaving the space around empty. On the other side are notes of the words she had sung and spoken. They are placed along side each other evenly and horizontally.

Once walking into the theatre room the viewer participates into her reaction and feels automatically this depression within this lady who is placed standing in a theatre room by herself reading and singing the suicidal note.

Her face is not revealed to the audience only the back side of her body. The tone of her voice changes within the time she is spending reading and singing. The volume of her voice changes from high to low according to what she is reading from the letter and the mood she has encountered. She engages the viewer to be very depressed and leading herself to suicdal activity due to the apologies she keeps repeating herself to her family members.Kate Murphy has really shown the audience the love she has towards her family members as she keeps asking for forgiveness. The audience is left only with her reading and singing the note in a theatre room by herself with no audience watching over her.

Kate Murphy has really shown the viewer and has made a translation and shown the viewer that her work is personal and has effectively shown the viewer the depression coming across through the words of the note, the isolation and emptyness of the place.

I really enjoyed Kate Murphys exhibition compared to Jonathan Jones. Kate Murphy's exhibition was more personal and I think has more meaning as an individual artist and therefore I was interested into finding and knowing out more about what was going on in the exhibition.

Jonathan Jones

The work of Australian artist Jonathan Jones at GBK Gallery was a subtle experience for me. Walking around the exhibition space I could not draw any specific intentions of the artist. His triangle-based shapes, marked using parallel-circuited fluorescent lights dominated the space.
Allowing them to rest on the floor and rise up gave the viewer a distinctive perspective to really, not just view the work, but merge and pass through the installation.  My views on his work can be broken down into two categories that umbrella most conceptually biased art, experience-prior-reading and experience-post-reading. Without the reading and information given Jones intention is not clear, even though I thoroughly enjoyed the compositions within the space through an Abstract frame of mind. However it is through the information provided we are given a history and an insight into Jones influence from indigenous and western art.

After spending some time in the installation juxtaposition became clear between this drawings and his fluorescent lights. He seems to be playing with notions of positive and negative space, contrasting his black lined drawings with the light lined sculptures. The interplay between the drawings that were hung with intention to reflect the light seemed to create a balance in the work and giving it a more ‘whole’ feeling.  As in the reading by Anna-Marie White conveys, “ It describes the interplay of positive and negative space – that gives their energy and vitality”.
It is in this space within the installation the viewer is situated. In the grayness between contrasting shades of black and white we are included in the work. With the thousands of viewpoints given to us we can compose our own interpretations, which I feel is a very subtle beautiful aspect of his work.

After being schooled by the reading my interpretation of the work changed, not as though it added a lot of substance to the work personally, but it was kind of a fun-to-know sort of thing.

It becomes clear that he is maintaining a form of tradition in his work through modern means. As the reading suggests he is mindful of his responsibilities as a “representative of his people” but it was satisfying to discover this did not dictate his work. An example of this connection he makes is though repetition and pattern making.  This portrayal of indigenous tradition through a minimalist means is a post-modern concept and adds another layer within his work.

The fact that he makes reference to western art by using florescent lights in a minimalist sense gives the impression that he isn’t rejecting western notions.

 

I fell as though his work is successful in the way that it manages to create these very subtle connections to his heritage, yet still remain free enough to be viewed without interpretation. 

Library Research !!!!

A reminder that our class for this week is taking place on TUESDAY at 2pm - this is your Library Research Class.

Please meet at the library entrance.

THIS CLASS IS COMPULSORY - IF YOU DO NOT FULFIL THE REQUIREMENTS YOU CANNOT PASS THIS SUBJECT.

If you have any queres please do not hesitate to contact me via email.

!!!!!!!!!!!

Thank you for posting your exhibition critique.

Although the task was to simply respond to the work in a longer than usual posting - I am seriously impressed by the high level of thought, strength of writing skills, critical engagement and effort exhibited by all of you.

Well Done - I can't wait to discuss the ideas you explored further in class.

A.

Kate Murphy @ Breenspace

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Kate Murphy’s exhibition “The note” currently at Breenspace had a rather shocking impact on me than expected. Suicide - is a very difficult topic to even bring up in conversations. And yet, Murphy conveyed it so subtly that standing in the dark video room viewing and listening to the female opera singer singing her suicide letter almost felt right and comforting.

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When I first entered the video room, the mannerism of the opera singer, her narration and lyrics appeared somewhat farcical and the empty seats absurd. It was not until I read the lyrics on the music note displayed outside that the video started to make sense, and to learn that the lyrics were of actual suicide notes gave me a shiver. The enlarged prints of hand-written lyrics and music provide stronger personal and private distinction to the content of the songs, hence eminently emotional.

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The empty white wall adjacent to the lyrics creates a solitary atmosphere of the exhibition despite the limited size of the gallery space. The still picture hanging on the wall opposite to the empty wall (capturing of the stage from a different angle without the opera singer but the camera concentrated on the standing-microphone) also contribute in creating the desolated mood of the artwork and the exhibition.

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This forces us to question and consider the role of the exhibiting space and environment, and its possible contribution in creating an adequate atmosphere for the works.

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The video camera in focus from the rear view of the singer projecting towards the vacant seats aided by the lightings draws the audience’s eyes to the two subjects - the opera singer and the absent audiences. It appears that; for the singer - the empty seats signify the individuals referred in her lyrics that she is no longer with but is willing to convey something to; and for the unseen audiences - the singer represents the one who left them unexpectedly but intentionally. So I believe this work isn’t purely to comfort those who are left behind and to represent their loss and pain but also to comfort the soul of the one who has left already and to remember their existence and significance in our lives.

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Kate Murphy has used it also as a device to indirectly engage with her audiences by placing us on the stage, and perhaps by passively placing us in the empty seats incorporated by the mirror effect, therefore us developing a relationship with the singer.

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The medium – video installation – also challenged me into thinking of and understanding the works influence and impact on the viewer and the buyer (as breenspace is commercial gallery), as well as its validity, accessibility and affectability.

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Suicide today has become a lot more complex issue within our society and for the individuals. Kate Murphy compellingly defines the inflicted pain, loneliness and emptiness the victim, the one who performs suicide and the victims, those who are left behind experience. It also induces the viewers to contemplate on life and death according to our personal experiences.

Exhibition Review: Jonathan Jones

I did not engage with Jonathan Jones' Revolution at first. However, as I started to look at the geometric and minimalist styled works more carefully and understand the works, I begun to appreciate how meaningful the works he had produced were. For me, learning about the intention and history behind the works made me much more in awe of this exhibition.

The light installations resemble canoes based on “traditional Koori line markings”, and shows very subtly how Jones can be classified as an aboriginal artist. Walking amongst and through the light installations was surreal. Light is usually connotative of hope and life, and by giving the boats that underlying meaning, it made me feel a sense of calmness and tranquility as I was surrounded by the bright light. One became a part of it, and immersed in the beauty of the work.

The arrangement of the light structures are interesting to note. There is one light installation in the corner that stands alone from the paired installations. It is noticeable where the light coming from it is. As I stood amongst the paired installations, it is not possible to tell where the light from one installation begins, or where it ends, as the lights from both triangular structures merge as one. This could introduce the theme of an individual and the society. This idea can also be seen in his work, titled 68 Fletcher, Bondi, 20:20, 8.6.03.

The graphite drawings, made up of various straight lines arranged in various angles, represented the “crystalline structures of salt.” I thought the intention of this was very interesting as I think Jones was trying to show how basic the natural elements were, and to perhaps make us appreciate and remind us of those simple, fundamental natural things.

Looking back on it now, the layout of the exhibition was like a photograph of a moment in history - one where settlers arrived to Sydney on canoes to a land where salt was quite important. These graphite works hung low and were almost on the same plane as the light installations, creating unity between these two pieces. Unity of the installation and drawing is, I feel, quite important. It is enhanced by the reflection in the glass of the drawings, and when one looks 'through' it, one is able to see the reflection of the light structures. This not only gave the drawings literally more depth, but extends the space making it seem bigger, like the structures would go on forever.

Without having learnt about the intention and history behind his works, it is virtually impossible to know that the geometric lines were in fact crystalline structures, and that the light installations were boats. Perhaps, this is because Jones does not want a set interpretation of his art work and instead wants the audience to decipher for themselves what his art could mean. However, having learnt this background, I am able to truly appreciate the beauty of the works and the artist himself.

Jonathan Jones- Revolution @ GBK Gallery

Jonathan Jones’ exhibition Revolution at the GBK Gallery was an interesting merger of ethnicity and heritage with the the contemporary society. I was quite drawn to his work, and how visually stimulating it is. The interaction of the viewer with the light sculptures and the reflection on the graphite works and perspex was very intriguing.

Jones’ work involved many elements of his culture and heritage, from the simply linear structures presented in the sculptures and in the graphite drawings. He used a salt mineral for the graphite, which was collected from the natural environment, gathered on the banks of the Murry River, one of the largest river systems in NSW, demonstrating the connection between the land, the ways of his ancestors and his indigenous heritage. In contrast, the artificial fluorescent light, a clear symbolic material of modern human civilization, impacts overall essence of these graphite drawings. The light, whilst quite harsh, creates depth through the reflections, to these minimalist drawings. The effect generates the drawings to have an almost sculptural 3D element.

The light sculptures vividly contain a connection to Jones’ indigenous heritage. From Barry Keldoulis, we heard the account that the physical structure of the sculptures, consider the Aboriginal canoes which we used to cross the harbor. The works utilized two double sided triangles made of fluorescent lights, joined at the base and tilted to an angle. The balancing nature of the structures perhaps emphasizes the fragility of the relationship between the natural based graphic drawings and the artificially sourced light. Within this balance it is also discernible the ease in which they could topple over and shatter. This manipulation of space creates a captivating atmosphere for the viewer, who becomes a part of the enveloped space. The viewer becomes entirely immersed in his installation, consumed by reflections, light, balance and its energy.

The choice to install the graphite drawings level with the light sculptures gives the space an intricate undertone, assuring that each work is not untouched by another. The relationship between the light sculptures and the drawings is very dynamic being entirely dependent upon the viewer’s focal point and position in the space. The distinct lines are interwoven with contrasting ends of the colour spectrum, with different levels of light being sent back. As the viewer movers further away from the drawings, so does the light, until it becomes almost gray and illusory.

When considering the title of the work Revolution, and interesting element is added where no circular motion, curves or revolutions are present. Perhaps this title then relates to society and its rotating advancement and progress. For it seems for as much evolution as humankind has made, we seem be moving further away from progress in itself, and all natural foundations of what defines a humanity. Jones seems to connect the work to the artificial and superficial nature of contemporary society and the relations to the past, to our history and heritage.

Exhibited at GBK Jonathan Jones ‘Revolution’ is to me the most important piece of indigenous art I have seen. The reason being, it actually engaged me long enough for me to look past the aesthetic of the piece and pursue the conceptual pathways of the work. This however creates a problem. What does it mean if the only piece of Aboriginal art I can react to doesn’t employ any of the techniques and materials of traditional indigenous artworks? Rather it looks like a product of contemporary post-modern thinking in materials choices.

Walking in and through the installation, ones first thought is on the interplay between light and space created by four dominant pieces; fluorescent tube structures arranged into the shape of a diamond turned on an obtuse angle. The four light structures are surrounded on two walls by low hung graphite drawings of the chemical structures of salt. The two works without knowledge concept or intention are linked on a visual level through their use of line, my first instinct was to look through the negative space created by the light structures (as in the inside of the diamond) and see what shapes would be made when the lights intersected with the graphite drawings. I paid no attention to this gesture and I guess it really isn’t an important thing to do when viewing the work. However, on a conceptual level when I thought about it, the act of looking through one of the works and seeing how it interacts with the other brings up pathways of thought that I didn’t think were there.

The owner of GBK spoke about how the light structures resemble traditional aboriginal design boats, these boats would have a fire pit in the middle so the light that is shined and reflected is reminiscent of this light and first contact with the colonialists. However I’m not so interested in the ideas and themes of the pieces, but the way Jones presents these ideas and themes to us in a non linear way, they aren’t just presented to us for so that we may consume them. They’re embedded in the materials and positioning of the work. Like the decision of fluorescent rather than neon light, neon being the more vibrant and used for advertising, it sends a message whereas fuoro is understated, everyday and subtle.

Gallery Visit 31/3/2010

Kate Murphy
The Note
12th March-17th April 2010
Breenspace

From the moment you first walk into the gallery space you can get a sense for the themes of Murphy's works. Even though we were in a small group you still get a feeling of isolation, loneliness and abandonment which are some of the themes that Murphy deals with in this particular show. As the viewer you are placed in the situation as the subject of the works from the moment you walk in. This is because of the placements of the works and individual works.

A large portion of the gallery space is left empty, there is only one medium size framed photograph on one wall and enlarged sheet music on the other, there is also on wall left empty. The placment of the works creates a sense of isolation, loneliness and abandonment, this is because of the minimal space used. By using this technique it creates a installation work because it uses the space around to create an atmosphere for the viewer and affects how the works is seen. This installation work confronts the viewer with the themes as soon as they walk into the gallery.

The enlarged sheet music is placed on the far wall in the gallery, it includes the words that are spoken and sung in the video. It allows the viewer to read the words of the song slowly and fully take in the meaning and think about each word that is written, the video allows you to feel the emotion of the song by the way it is sung. The words are hand written not computer typed which creates a personal between the creater and written words. The sheet music is also a written record for the song that is sung just like how a suicide note is a written record of the person that has died and a small insight into there feelings and thoughts. The suicide note can last a lot longer then what human remains can, this can relate to how the better memories of the deceased will last long then the memories of their suicide.

The framed photograph (still from the video) shows a microphone on a stand and empty seating, as you stand in front of the work you can transport yourself into the scene that is set and behind the microphone stand. While you transport your self into the physical setting it is more about transporting yourself into the metal state of all the people involved, including that family, friends and the person that the suicide note belongs to. This photograph show that the seating is empty which it would normaly be filled when someone is on stage perfoming. By having the seating empty represents that the connection between the subject and the "rest of the world", mostly there families and friends, the subject wishes to tell how they are feeling and thinking but feel as though they cant this is the reason for a suicide note.

I prefered Kate Murphy's work over the work of Jonathan Jones because I feel more of a personal connection with the themes and emotions of Murphy's work. Her works are more about the memory of the subject instead of the death, her show represents the emotions and thoughts of the subject.

Jonathan Jones at GBK.

Visiting Breenspace and GBK I was initially drawn to the work of Kate Murphy over Jonathan Jones. I found her work emotionally raw dealing with feelings any viewer could relate to, making it easily accessible. In contrast, Jonathan Jones’ 'revolution' work is subtle in meaning and requires some contemplation. I found it intriguing as it is unlike anything I have seen in regard to indigenous artwork. I like the innovation that he uses, giving the public a contemporary perspective on the aboriginal lifestyle.

Jones uses fluorescent tubes in his installation as well as simple line drawings on the walls. Aesthetically, the lightings diamond shapes were very perfect looking and the light emitted created the feeling of life and an aura around the piece. Personally I’m not one for the minimalist look but the sketches that accompanied the lighting were a nice effect. The combination of the two seemed to me to be a reflection on the past of aboriginal art being simple and organic, contrasting to the majority of life now that is overwhelmed with industrial materials and architecture. This was what I thought of the installation without the aid of a reading or a guide. However it just so happened that it was Jones’ grandfather who showed him how to work with material like this making it seem like he is not as tied up to the notion of past verses present as I thought. It seems like he is just going with the flow of what’s going on at present in terms of art materials. His meaning is deep rooted into everything related to the aboriginal culture, their traditions and beliefs about community and labour. It is possible to think of many influences to the work such as minimalism; however it is said that minimalism is not what was intended by Jones. Once a little background information is heard about the work the meaning is clear and insightful. I think it’s interesting that the meaning is so simple and yet complex that the work can evoke new ideas that were never intended.

The Gallery space that the work was placed in created an atmosphere that felt more like I was stepping into an artwork rather then looking at one. The light radiated, illuminating the white space. I liked the clean feeling there because it was a huge contrast from the natural earthy tones I would normally associate with aboriginal artwork. The drawings were positioned for the light to give them another dimension and a feeling of life; this shows how though the work seems effortless it was carefully calculated.

The aspect of Jones' work that I like the most is that he’s an artist that is creating contemporary aboriginal art that embodies the indigenous heritage as well as moving it in new directions that provoke new thoughts. The work of Jonathan Jones takes into account traditional values as well as being able to experiment with different media and techniques which makes the work relevant to contemporary art.

Exhibition BLOG Post

Hi All,

A reminder that the class for next week is taking place on TUESDAY at 2pm - as this is your Library Research Class.

Please meet at the library entrance.

THIS CLASS IS COMPULSORY - IF YOU DO NOT FULFIL THE REQUIREMENTS YOU CANNOT PASS THIS SUBJECT.

If you have any queres please do not hesitate to contact me via email.

Hope you all have a great break..
A.

Kate Murphy at Breenspace

Before entering Kate Murphy’s exhibition of ‘The note’ at Breenspace, I had neither any background knowledge on the artist nor any expectations, though I immediately found her work very emotive as it resonated with my personal experiences and memories. Reviewing Rachel Kent’s document was surprising as I did not realise that the written music was essentially based on a suicide note. The main themes which I established and found most prominent in the work are aspects of remembrance, solitude and loss.

The composition of the work was very interesting, as the large space was only minimally utilised. I felt that this could represent the smaller scale of which suicide is known to the public eye in conjunction with the larger scale of the powerful effect which it can have on our lives. I believe that this factor converges on the ideas of seclusion and failure or loss. Considering the composition of the work, emptiness is present in the gallery space, which directly gave me a feeling of seclusion and the absence of objects also represented a form of loss. Even though there were number of other students in the gallery at the time, some how I still felt hauntingly alone in a large almost empty space.

The face of the woman depicted in the work was never revealed, perhaps for the same regard that the author’s name of the suicide note has also remained undisclosed. Although she was an employed singer and actor, the idea of revealing an image of the characters face, I believe would take away significance from the work. The turned image of the character therefore has effectively acted as a vessel for the note, a final farewell without a depicted audience.

Initially I did not realise that the singing voice in the background read the note in song, but regardless I felt that it complemented the atmosphere in a quaint and calming manner. Listening to the note as a prayer in song evoked childhood memories of mine; attending church with my Mother and the countless times I had witnessed her as she quietly prayed to God. The sound did not overpower as an aspect of the work, but gave power to the written words of sincerity and the plea for forgiveness. I found this very beautiful as these words if not written in text, could well be forgotten in time let alone be remembered, as prayers are more commonly kept within the mind. The protagonist is now not only given a voice, but is also given the form of expression her voice needs to resonate with audience overtime.

The reflective glass covering the photographs also captured my attention, as seeing my reflection as part of the artwork suggested that I was in fact a special audience with the privilege to witness this otherwise personal celebration of life. Although I never knew the individual who committed suicide, from reading and hearing her words I felt that I could familiarise with the kind of person she may have been and although a relationship never existed between us, I feel as though I know the kind of beauty and strength of emotion in her in relation to my Mother.

Remembrance has become such an important aspect in culture and society, whether it is commemorating war veterans, donating to charity or visiting the grave of a loved one, I feel that it is important to pause for a moment in our day to reflect on the greater good in people, whoever they may be or may have been. Reading up on her past work, Kate Murphy has clearly continued to articulated the importance of remembrance through the resonating experience of imagery and sound in ‘The note’. I look forward to seeing more of her work :-)

Jonathan Jones @ GBK

My initial reaction to Jonathan Jones’s installation at GBK was of intrigue and delight; I was shocked by my quick acceptance of Jones work as I had withheld a negative preconceived opinion towards it. Having previously seen photographs of the installation I thought that it was going to simply be another take on Dan Flavin’s use of the fluorescent light or Joseph Kosuth’s neon lighting. Presuming that Jones was not going to provide a new element that would be appealing or stretch my mentality, I was proven wrong as Jones’s work spoke to me more so than of those previously mentioned.

The structural element of Jones installation I found could only be appreciated first hand; walking around and in between the individual pieces, I was able to experience the full extent of what Jones created. Attempting to decipher how the work was constructed and establish what each individual piece represented; my imagination soared freely I considered the structures to represent sailing ships, birds and cliff-faces amongst other things. The work emitted what I thought to be a serene haziness, I felt utterly calm as I walked alone amongst Jones piece allowing the tranquil mood to pass through me.

Jones’s use of geometric patterns and shapes indicate geometric abstraction as an influence and the simple materials used, the “fluorescent lights” and the presentation itself fall category to minimalism. Despite this Jones’s indigenous cultural heritage is said to hold a profound influence on his practice, as many of his pieces refer to historical Australian landscapes and past events. However I feel that this was not clearly evident in his work at GBK and if not informed of Jones ‘s linage one would associate him the same as any other contemporary artist. As Jones is combining modern technologies with the traditions of his heritage I feel that one of his greatest concerns is to avoid falling category too or being labelled as a contemporary artist or an indigenous artist. Instead I feel that Jones is hoping to challenge these titles as they exist and shape a new faction.

Within the installation itself an idea of the ‘vast’ and ‘unknown’ can be associated within the reflective qualities of the space. As the artificial light glows on the floors surface and bounces of the glass-framed artworks mounted low on the walls of the gallery, the light seems too extend the space itself and it is unclear as to what exactly you are viewing. I feel that this is similar to the artwork itself as the meaning and representation is unclear, and all that is provided by Jonathan Jones is a ‘vast’ pool of emotion and our interpretation. I feel that Jones has found a truly beautiful way of engaging the audience’s emotions in such a simplistic manner.

Jonathan Jones - GBK

Of both of the artists currently exhibiting at GBK and Breenspace, I felt I was interested in Jonathan's work the most. Much of Jonathan's work is obviously concerned with minimal abstraction and is heavily influenced by Dan Flavin's minimal abstract fluorescent sculptures/installations*. Jones uses fluorescent lights in such a similar way to Flavin's work it makes me think there is a subtle undertone of appropriation? But this may be just because Flavin was so distinctly known for being the first user of fluorescent lights in sculpture - every artist that uses them may be trapped by this fact.

His drawings had an interesting relationship to the sculptures. It is almost essential that they are hung in front of the sculptures so as to catch the light and create another dimension in the reflection. The drawings themselves are deliberately two dimensional and simple so their interaction with an outside light source seemed preempted. Jones use of light has a pronounced subtlety to it - where other artists using light may take full advantage of the spectrum and different technologies Jones will use a monochromatic light, a stark response to artists like Flavin and even Olafur Eliasson.

He also creates these sculptures and patterns in a minimalist effort to strip any meaning or preconceptions from his objects but still referencing such a human and emotional side of himself. His works are like a celebration of aboriginal culture, creating tribal shapes and patterns (they are more prominent in other works) but to me there is still a feeling of loss or grief. It's almost like the reference is so subtle it's barely there and has been replaced by the modern** - the less hand-made or human influenced his sculptures are the more emotionless and therefore emotional the work seems.

This may be because the topic is very emotional and the objects are so lifeless it is almost like looking at a dead body or something with equal nostalgic value. Jones is not endeavoring to create a singular sculpture or object although it may seem that way on first inspection. I feel the key element in his work is the relationship between each contributing piece - from each viewing point the foreground shapes combined with the background shapes create different abstractions of the space. The viewer finds themselves amongst the artwork and is no longer in a position of the traditional art spectator. A common theme appearing more in contemporary art.

I can appreciate the clear communication of creating such machine-like emotionless angular shapes and combining them with such humanity and emotion, but still managing to maintain a subtlety about Jones work.

The note

So last week we visited GBK to see Johnathon Jones works and Breenspace to see Kate Murphys work. Initially i was drawn to Johnathon Jones work because of the use of light and reflection and also because i disliked Kate Murphys work and found it dull as i didn't understand it. But actually it was my fault as i didn't put two and two together, only when i was told it was about suicide of a close family friend did i see the true meaning and beauty in her piece.

After this new found knowledge i was able to discover and approach her work from a new angle and it was cold and detached, why? Because of the space between each image and how they were placed on eh walls especially the music how it was lined up at the at they end of the gallery and not framed to glorify it but to see it just as it is, in this time almost as if it was just blue tacked on the wall. Even though the letters seen on the wall and in the video were filled with happier memories and jokes the feeling of loss and sadness created through space and imagery pierced right through jokes to me.

One thing i found quite cool about the concepts behind her work in creating it is her complex process to getting to what we see in the gallery. And after my research i was left more amazed.
Murphy get very involved with the four key things that make her work work. which are the installation the work it's self either in multiple screens or images, the gallery which it is going in, the space between her works as this creates the atmosphere and amplifies the effect on viewer which the last point as then it in turn how you will perceive her work and move round it and what you will think of it.

The use of multiple screens and images in her piece work with the space around to create the feelings of the friend who committed suicide. the white sterile walls with the white A4 pages in a line create a sense of absence. the Image on the wall by its self with just the red seat disappearing into the black back ground with old microphone is a serene and soft image but with the clear focus on the microphone with no one there at it and with the singer been able to be heard as you go through the gallery brings again to my mind the "loss" and emptiness that has been left for the friends and family to deal with.

To me the theme that stood out to me more than "suicide" was the story behind it and how this work is showing us how she wants us and everyone to remember her friend for and not for the fact that she committed suicide. It is a cold and detached still to me but i see a beauty in it as i left that i couldn't see while surrounded by the work. and i think that is what Kate Murphy was trying to create for the viewer and now thinking back on the work the first thing that springs to mind is not the death but more the imagery created by the singer of the love she had for those people and what they had.

Jonathan Jones- GBK

Jonathan Jones work captured my attention more so than Kate Murphy’s when visiting Breenspace and GBK galleries last week. Jones’ light installations we viewed were simple and I found them to be very elegant. They had an almost regal or majestic ‘floating object’ sensory appeal to them. This for me was due to their shape- the elongated triangular forms seemed to construct images of paper planes, boats or dove-like birds as Barry the GBK Gallery owner brought to our attention. Before reading the hand outs on Jonathon Jones my first understanding of his pieces were on more of an abstract level (as this is a topic clearly fresh in my mind!) relating him to the works of Donald Judd who I had presented on for assessment. I felt Jones’ was questioning space contrasts- negative and positive reflections in the world, highlighted by the way in which the hanging images on the walls were black lines- holding the linear theme yet seeming to be on more of a contrasted tone to the white fluorescent lights. After then reading the handouts and following on with some research, I found it very interesting to understand the influence of his indigenous heritage on his work. For what I saw as simple minimalist work- I hadn’t fully engaged in the connection to indigenous motifs, such as the composition of the lights suggesting communities of people (as mentioned in Jonathon Jones- by Anna-Marie White), as well as the idea of shapes used in dreamtime to tell stories. Although my initial interpretation of the work was very basic, the development from my first feelings of negative and positive space saw I was able to draw out a much more in depth notion of his political perspectives, still connecting to my initial interpretation, the comment of Anna- Marie White ‘The sophistication of Jones’ work is that one interpretation does not come at the expense of another”- ringing true- one seems to develop another. I started to look again at the reflections on the black lined paper created (clearly purposefully as the paintings are hung low to match the level of the light installations) by the white lights. I feel almost a beautiful sense of isolation because the ‘connection’ as such, made on the painting is actually barricaded by the Perspex frame enclosing the paper, further still the ‘connection’ made is false, its not real, it is simply a façade of light. A common comment in both readings given to us on Jones’ work is his subtlety when it comes to his political stance. I think this is a very respectful attribute to Jones’ works as, instead of blatantly pushing an issue to his audience on behalf of his indigenous heritage, he uses every definitive aspect of conceptual art to his advantage. He induces or provokes the thoughts of the audience, to lead them to his intention in a sort of ‘make of it what you choose’ attitude, leaving us with that right to make our own judgment, this in itself adding to his political theme.

Jones’ has used what art critics first connect to as traditional abstract form and created a whole new meaning of indigenous art within the contemporary world, finding a new means to gain respect for his heritage and its stance within today’s political society.