Assemblages, 1989
Reconnaissance Gallery, Melbourne, Australia
Postscript:
Assemblage in a painting can play dual roles by providing both interference and the actualisation of a material and concrete presence. It poses alternatives to the idea of a painting performing merely as imagery on canvas. Assemblage in a painting transmits multiple and incongruent meanings through the disorder of interrupting the conventional pictorial plane.
Each of the works in this exhibition investigated disruption via the coming together of the separate agencies of painted imageries and concrete material forms, posing the question: how do we think when we encounter the disunity of complementary yet divergent paths?
Assemblage in a painting can play dual roles by providing both interference and the actualisation of a material and concrete presence. It poses alternatives to the idea of a painting performing merely as imagery on canvas. Assemblage in a painting transmits multiple and incongruent meanings through the disorder of interrupting the conventional pictorial plane.
Each of the works in this exhibition investigated disruption via the coming together of the separate agencies of painted imageries and concrete material forms, posing the question: how do we think when we encounter the disunity of complementary yet divergent paths?
I acknowledge and pay respect to custodians – past, present and emerging – on the Wurundjeri Woi-wurrung and Bunurong Boon Wurrung Lands of the Peoples of the Eastern Kulin Nation, where I live and conduct this practice. I extend this respect to all Aboriginal and Torres Strait Islander peoples, recognising that sovereignty was never ceded.
© Peter Westwood 2020