Inflight 2008 Invitation

Gaze - Inflight Project Space - September 2008


GAZE at Inflight ARI - installation

Gaze was an exhibition of drawing based on a number of trips taken to a wild and remote part of the Tasmanian landscape. The exhibition invited participants to consider their own ‘presence’ of being in landscape, identified through emotive and metaphysical triggers juxtaposed against the material form of a mass of many drawn lines.

The methodology adapted used a variety of rhythmic and accidental drawing processes, preserving something of the status, or presence, of the landscape with which it responded to. The drawings defined an evolving landscape rather than the idea of a static environment. They consisted of recognisable elements of landscape but they existed in the gallery in their own state, without a specific recognisable place attached to it.

David said about this exhibition, “It was an attempt for me to make sense emotively of what a landscape is, of what one’s sense of connectedness to a place is, which I initially conceived by appropriating through the images of it that surrounded me as I moved through it, recording it, then transforming it through a kind of deeper knowing of it and focusing on a metaphysical engagement between context and method, surface and texture, and manipulation and deconstruction that followed.”

For the work to be realised, viewers entering were encouraged to walk over a large densely layered charcoal drawing covering the complete floor plan of the gallery. The same layered mark also covered the walls in a thick dense blanket of obsessive charcoal marks. During the three weeks that the exhibition was open, David erased, then drew back on again, then erased the four surfaces of the walls in a somewhat destructive but performative act that left a silver velvet trace or presence of the drawing and landscape underneath, an act that referenced the evolving nature of the natural environment to which was the initial source of reference.

This viewer interaction was an integral part of the making the work with their moving footprints as they slowly shift the work smudging, scuffing and rubbing their way across the floor, further accentuating the rhythmic and accidental mark and in part re-defining the drawing and the landscape with their own interactions within it.


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