EXHIBITION: Red, Menace & Milky

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Red,Menace&Milky

RED MENACE & MILKY : A SOLO EXHIBITION BY SYLVIA SHREWSBURY

MARCH 30 – APRIL 13 2014

The exhibition will document my last three months as artist-in-residence at La Petite Galerie. The work includes playful attempts at self-help, and is largely a response to practiced methods of art therapy such as dramatization, automatic drawing, body movement, prop making and role-play. Material has been directed, recorded, repeated and recycled in an effort to turn initial expression into thoughtful, intentional process.

AT LA PETITE GALERIE, SHOP 6/241 NEWCASTLE ST, NORTHBRIDGE WA

OPEN: MON TUE SAT SUN 11AM-4PM

W. Kentridge: The Refusal of Time

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5 screens of intensity. Intentionally ambiguous, but to me it speaks of pain. Black & white except for sections of red from where scraps of paper have been left on the walls of the gallery to show up underneath the image projections. Scrappy, in the best possible way.

The exhibition had me entranced and the hairs stood up on the back of my neck when the beat of the marching band-come tribal song came rolling in in unison with the paper doll shadows which followed one another around the room.

According to critics, the work is all about time zones, politics, history, industry and science.  However, in this excerpt from an interview with Kentridge, given by Andrew Frost of The Guardian, the meaning is intentionally ambiguous;

The work is an invitation to the visitor to see if they can find points of connection that overlap between their memory, their experiences and desires, and what they see on the screen and hear. It’s not as if the piece is an emotional journey plotted for an audience. That requires a cynicism in thinking on behalf of other people. And a knowledge of knowing who other people are. Neither of those things I would claim.

Full interview here.

William Kentridge, The Refusal of Time, 2012. Stilbilde. Foto: Trine Otte Bak Nielsen.

William Kentridge, The Refusal of Time, 2012. Stilbilde. Foto: Trine Otte Bak Nielsen.

Kentridge has got me thinking about endless possibilities of material and light. And about how narrative can be manipulated, torn up, scribbled over, photocopied, enlarged, shrunk, and portrayed in many, many ways in order to (or not to) suggest meaning. I’m particularly interested in how a sensory experience can be devised for the viewer. How they can be encompassed by the work, and how fantastically overwhelming this can be.

William-Kentridge-The-Refusal-of-Time-promo-shot

Image from We Love Perth

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