Gallerysmith has presented an impressive selection of seven artists at the Melbourne Art Fair at stand A61.
Adam Norton’s Space Yurt sits at the entrance to the stand, inviting viewers inside his house designed for life on Mars. The tent-like structure, complete with portholes and plants, contains a space-bed made out of tennis balls and framed photographs of Norton, his momentums for this life post-Earth. It playfully stands as a cubby house made out of heavy duty aluminium foil, resonating with make-shift structures we used to make as kids. This is of course reflected in the concept of an imaginary futuristic journey into outer space – however it is underlined with a sense of urgency and darkness, of huge questions – what happens at the end of the world? Where do we go and how will we survive? (It is also rumoured that Norton is wondering the fair in a space suit – I will be on the look out from now on).
Digital prints by Catherine Nelson sit opposite, and also contain a wonderment of celestial ideas – her highly detailed landscapes are encapsulated into a globe, creating a new representation of natural elements of making up an entire planet, all circulating in a fantastical sphere of elements that question the consistency of our world – both imaginary and real.
Nelson’s one photograph that stood out to me was hung on the opposite wall and of a different subject matter – a flock of birds strangely but beautifully circulating a centre point, creating an almost geometric pattern, which links nicely to the Lucas Grogan works alongside.
Grogon’s work is centred around phrases of text: “Time Will Tell Babe” and “Baby Steps”, surrounded by intricate pattern which appears similar to indigineous styles of mark-making, a quality which has created some controversy surrounding the artist’s work. His upcoming show at Gallerysmith, ‘Cave Paintings’, has seen the artist return to his black and white style which creates an interesting and important discussion surround the appropriation of artistic styles, especially when specific to certain cultures and traditions.
Another stand-out is Eric Bridgeman’s work which explores cultural associations surrounding the ‘golliwog’, the black clown. Bridgeman’s photographs and films present himself dressed in a custom-made gollywog costume against a wildly painted back-drop, his face painted and portraying intensely emotive facial expressions. The parallel vividness and underlying darkness creates a powerful relationship between something that reminds us of a kid’s birthday party, and the sinister undertones of racial tension.
Around the corner are two works by Texta Queen. Drawn entirely (as the name suggests) in texta, these works create a nice link to Bridgeman’s work – she also explores issues surrounding cultural history and identity in contemporary culture, but in a more finely detailed, self-conscious and introspective way.
Gallerysmith have managed to incorporate a vast variety of media and concepts, ranging from landscape – both traditional and manipulated, to themes of cultural identity in contemporary society, both celebratory and pensive, to installation, both playful and serious. Gallerysmith is a highlight of the Melbourne Art Fair, so make sure you visit them at stand A61 on the balcony level.
