Holly Block’s ‘It’s Love’ (2021) pulls at perception. Its surreal composition with little aesthetic refinement carries charm and unease. The dolls never satisfy in their form, nor does the barred-back, worn setting echo the multiverse to which they belong than beckon the unrecognisable. Behind the dolls, a mirror with a vintage frame smeared with Vaseline obscures reflection. On inspection, the words ‘You are beautiful’ become apparent.
Groundwork exists with both humble and dynamic energy, a duality owing to Mark Galea’s spatial and colour awareness transfixing his work with a presence open to the viewer’s approach.
No Ball Games Allowed scratches at the insides of our bodies, irresistibly, but without reaching the spot of sensitivity, as it leans away from us and, instead, fully into itself.
Rebecca Belmore’s corpulent force carries Turbulent Water, Australia’s first solo of the celebrated Lac Seul First Nation (Anishinaabe) artist. Showing at Buxton Contemporary until May, the exhibition broadly positions Belmore’s works: video projections with performance and sculptural elements which nurture Indigenous peoples’ cultural bonds and abrasions.
The past is what happened, history is what is remembered. Recognising this dichotomy, John Young Zerunge reconstructs dominant historical narratives…
Through an extravagant pose plastered on a billboard, Thai-Australian artist Kawita Vatanajyankur asks viewers to consider the human labour expended within their consumption habits.