Through a glass darkly

The sacred and the sublime are concepts that become possible through the attempt to come to terms with what is confronting, disturbing or difficult to represent. The beauty found within suffering fills the gap between the uttered and the unutterable, between knowledge and articulation and between seeing and believing. Through a glass darkly originates in Corinthians 13 in the Old Testament Bible.

Art Exhibition previously on at DEATH BE KIND in Brunswick precinct, Victoria, Australia.
From Tuesday 07 June 2011 to Thursday 30 June 2011
Launch Tuesday 07 June 2011, 6pm

Through a glass darkly image

Published by anonymous on Thursday 02 June 2011.
Contact the publisher.

This popular phrase has been re-used often to convey ideas that the view is blurred, the reflection is dim, things are not exactly clear.

Through a glass darkly is an exhibition that employs a poetic arrangement of objects, while some threatening and some horrifying, these objects are transformed into scenes where suffering can become a thing of beauty, and misfortune a chance to renew. Alex Rizkalla and Julie Davies works titled “Termoin Oculaire” [Eye Witness] are the result of an engagement with the Paris based Fragonard Museum, famous for its collections of human and animal anatomy with a special devotion to the study of physical abnormality in animals; teratology.

Simon Pericich’s “When they come we will be ready” is a number of everyday household objects fashioned into an arsenal of threatening weapons. Hung in an orderly fashion a fastidious shed guy would approve of (sans outlines), these domestic hybrids embody a ritual of survival in a world where the threat is left to our imaginations. Juliet Rowe’s plaited hair ‘peace’ sign is a gentle poke at fashionable soft politics while Colette Male “Shrine to Sad Keanu”, buried in the gallery floor reminds us how the economy of celebrity image re-mixing is most poignant when coupled with celebrity’s ‘real life’ agonies.

The unseeable dwells in the text work by Sadie Walters; a story telling her experience of her father’s death and his ongoing memory in her life is printed large onto the gallery. While Dani Hakim’s dry and literal conceptualizations of artworld tropes is made physical in her work “No Image Available” the familiar internet sign that tell us: a dead end, go back, try again, censored, the un-photographable.