Brent Hallard | Edgar Diehl

A striking collection of Concrete Art by Australian Brent Hallard and German Edgar Diehl.

Art Exhibition previously on at Conny Dietzschold Gallery in Darlinghurst precinct, New South Wales, Australia.
From Tuesday 28 June 2016 to Saturday 06 August 2016
Launch Tuesday 28 June 2016, 6 - 8pm


Published by Conny Dietzschold Gallery on Friday 17 June 2016.
Contact the publisher.

Brent Hallard is an Australian abstract artist, curator and writer. His works on paper and aluminium explore minimalist iconography and monochromatic expressions. Using mediums such as markers, watercolours and acrylics, Hallard constructs images of recognisable geometric forms, sometimes standing alone or in clusters, at other times escaping the boundaries of line and shape. His work conveys precision while toying with looser explorations of colour and form, creating experimental geometric abstractions that challenge the viewer’s perception.

For ‘Lavender Strike’, Hallard has decided to focus on three systems of image making: horizontal bars, architectural interiors and structures based on cubic shapes. All three systems of work are on a support of honeycomb aluminium mounted onto the wall with aluminium French cleats. The edge of the honeycomb is left raw to bring attention to the frontal nature of the painting and the thick support, providing a shallow space from the wall, activates a new surface for the experience of a nonphysical space. All the actual surfaces of the three systems are “worked” in that they hold visible brush strokes yet remain fresh, unaffected by the colour strata and struggle beneath the layers of paint. The horizontal bars of the first system generate different moods and play with our perception of colour marriages and space, a calm expanse in which to contemplate. Butterfly joining walls, triangular corners of floors and extreme perspective interiors are the characteristics of the second system of paintings on show. Finally, the third system comprises cubes of illusion all entitled ‘GONG’. This represents the sound, but also ‘going’ without the ‘i’, the simplest yet most convincing indication that something is awry.

Hallard earned his Bachelor of Fine Arts in 1990 and went on to earn his Master of Arts from the University of New South Wales in 1992. He is an instructor at the San Francisco Art Institute as well as the California College of the Arts, spending extended periods of time between the USA and Japan.

German artist, curator and writer Edgar Diehl’s relief paintings, sculptures and objects target one’s perspective. His works draw on a number of important movements such as Cubist painting, Constructivism, Op art and, most significantly, Konkrete Kunst. Diehl makes use of actual bends and folds in the three dimensional medium: aluminium panels, mirrored on a symmetrical axis, are bent at numerous points, so they appear to be layers of surface segments variably distanced from the wall. These folds, bends and gradations, which can be vertical, horizontal and diagonal, mean that each surface reveals a different angle, the light breaking these angles in disparate ways. A multitude of surfaces is created.

Diehl challenges all colour systems; all regularity and simple transparency of colour. Like sounds, he sees colours as complex, in possession of emotional and sensory qualities. Using diverse methods in his paintings, which at first glance seem regular and meticulously arranged, Diehl generates a great many irritations, shifts and changes in perspective that can even go as far as ‘morphing’. This has little to do with optical illusions – on the contrary, Diehl’s objects expose the observer to an experience: what can be seen is only an effect generated by the complex situational conditions. In this way, the entire field of subjective and objective conditions of perception is ripped open. Which elements of perception are determined by physical/optical factors, by physiological/anthropological factors and by historical/cultural factors? Painting itself becomes an independent medium of perception.


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