Lorna Grear

STACKED @ Peloton

Stacked, packed to the rafters, jammed full of stuff. In this new body of work surprising effects happen from the stacked paintings. Recycled plywood is used as grounds; painted and stacked to cause deeper spaces.

Art Exhibition previously on at Peloton in New South Wales, Australia.
From Friday 25 November 2011 to Saturday 17 December 2011

Bone Marrow image Brolgas in Black and White image Guerard's Traveller image Breakaway Box 1 image Beach Pattern in Black and White image Guerard's Traveller Meets Guess Who image Random image Frost image Colour Crate image

Published by anonymous on Tuesday 29 November 2011.
Contact the publisher.

Meaning is inherent. Silhouettes are painted on tourist stencil templates of Australian fauna; possums, platypus and kangaroos. Once discarded, used now. The piles of plywood make the issue of space real: 3D. The viewer can travel into them.

Other stuff happens; heroic symbols meet Australiana. Hidden images are there, gallant heroes of a past era. The painting Gruner’s Spring Rainbow uses Elioth Gruner’s image, Spring Frost to re-visit a forgotten landscape. George Raper’s Waratah has also been referenced. There are others; Meere’s fabulous woman in his Beach Pattern, re- envisaged in, Purple Play. Von Guerard’s cloaked man in Northeast View from the Top of Mount Kosciusko is referenced in Guerard’s Traveller. In another, Brolgas from Spirit of the Plains move their way across stencil outlines and Rainbow Warrior brings Gruner’s cow into the pattern. In a playful and intuitive process ideas of place and identity are revealed.

Along side the discarded templates, left over packaging is also used. A shout to Rauschenberg; and a nod to the readymade; these cardboard boxes and plastic wraps have been used as canvas for paintings. They are displayed as a smorgasbord of miscellaneous ideas.

Colour too, is celebrated and falls easily into place. Sometimes the colour comes from an old T- Shirt design, other times it belongs to midnight; mostly it is intuitive and based on rhythms. The personal is hidden in the choice of colour.

As much as the work references Australian art history the idea remains abstract. Within this abstraction are contradictions of dualities. Baroque but minimal; formal yet easy; geometric and at the same time organic. It is no longer Formalist, no longer Hard Edge; it has Op Art references, even a Modernist theme. It could be old and new.

Lorna has held numerous solo shows including at the infamous Tailor Room Gallery, Sydney between 1998 – 2003 and Peloton in 2005 and 2009. Other galleries include, Imperial slacks, Herringbone, SNO, Phatspace, Zitlip, Firstdraft and Mop Projects. Her work has been hung in the Portia Geach Memorial Prize, Fishers Ghost Art Award, Mosman Art Prize and the Liverpool Art Prize. Before this her time was spent in London initiating community arts groups, namely The Dolehouse Collective and Scarecrow Tiggy- an artist run co-operative in Camberwell, London. She is a graduate of both Sydney College of the Arts and The National Art School. Lorna currently teaches art history and painting at South Western Sydney Institute of TAFE and is in the middle of curating an exhibition titled ‘The Baker’s Dozen’ for UTS Gallery in 2012.


25 Meagher St Chippendale, NSW 2008