HARRY AIZENBERG


Catalogue

Visual Disturbances

10 August - 2 September
Thursday - Saturday 2-6 pm

Opening Thursday 10 August from 2pm with drinks event 6-8 pm
Also Sunday 13 August, 10 am - 1 pm

Harry Aizenberg's latest works investigate visual responses to trauma, emotional and physical pain and the traces of memory that these events leave. Exploring the visual language of pain led to these currents series of paintings. Can pain be seen? Does it have a colour? Might a painting elicit a memory of pain? These questions led to the development of a visual narrative to describe the pain, ocular aura and disorientation of a migraine.


Harry is a Sydney-based non-objective artist. He graduated from the National Art School in 2016 after a career in the private hospital industry.


http://www.harryaizenberg.net/

CHRIS PACKER


Catalogue

Dither

10 – 19 August 2017
Thursday-Saturday, 2-6pm

Opening - Thursday 10 August, 6-8pm
Artist in Gallery - Sunday 13 August, 10am - 1pm

In drawing, dithering refers to the creation of multiple marks such that the eye ceases to perceive the distinctions between them. In life, it refers to the establishment of multiple outcomes, such that a person ceases to perceive a single course of action.
There is something fascinating in the way one thing diffuses itself into another. Using a pencil or brush to blend colours and achieve the illusion of three-dimensional form can be terrifically satisfying.
Using three-dimensional forms to create an illusion of tonal gradation, and light itself as the medium, these works reverse that.
In formal terms, dithering disrupts the pretensions of line and shape to any kind of purity. In life we are in thrall to corresponding pretensions, of clear delineations and pure purposes. We worship decisiveness, and live in perpetual fear of dithering, as if the liminal isn’t ubiquitous – as if life isn’t a dithering between birth and death.

There is a question hanging over these works. Originally they were to be painted and the strips removed, to hang separately in the gallery space. But if the painted marks I was set to make might represent the ones you see here, what would that mean about these real but fleeting shadows? I dithered, leaving the unmade paintings to tremble in the imagination; the imagined dithering into represented and the real into representation.