Queensland Art Gallery Presscuttings Book 8 : Pressclippings, 1977-1981

SENSE OF FREEDOM IN SPACE AND MOVEMENT'. ANN THOM- SON'S paint– ings and drawings, exhibited at the In– stitute of Modem Art, have been ex– ecuted over the past two years. Mlos Thomson Is con– cerned with apace and movement, expressed through air, or sea and air, and rra11mented lm– agea or flying machines which preas llilWUI.. and ruffle the air. In her latest work the fntereat In apatlaJ Illu– sion has fncreued. She Identities so sf,tollflly \\1th alive 1pace that there Is a 11tnse as tr she were breathln11 with ft and experlencln11 the freedom or tlie atr. She enjoys expandlnfl over a 1arp format, work In fl with speed, keeping even•thlllfl open, and the brwmwork 1006e. She also takes a aen– auous dellaht In aceyllca, their quick-drying prop. ertlea and the rich blenda thlllll allow. A number or worka re• I a t e closely to Mtaa Thomaon'a mural at the Studenta' UIIIOn Refecto– ry, but In her latelt work the colours are softer and tendlllfl towards neutrals, as for example In "811<,ta•, where a non– figurative calllsn,phlc structure la played against brushy planes, moving In all .dfrectfons. But "Open Edre" talso of her latest) ls the more satlsfylngfy resolved work or t,he two. Two very large works on paper ue sprlghUy and generate excitement. * * * A N IXHIIITION ., "' •-r1c • 11 phete– ,,.,h.,, .... P,letllHde,, tf wide N11ew11 11 1howl111 at the Q111e111la11tl Art GalltrJ, Frfedlander's objective and c Ia s s Ic a 11 y dis– ciplined style Is charac– teristic or attitudes to Pho tog rap h y which with Dr. Gertrude Langer emerged In the U.S.A, In the early Sixties as a re– action Bialn&t the ro– manticism or ,the Fftues. Friedlander selects banal subject matter and preaenta It with precision and elegance. What makes his work more unique Is his subtle Irony and wit, and th make most or his pie: tures a discovery. Tra,·ls U'UL< baslcaily &l,npie lol'IIII IUell', U o v o Id ,. •phere• and "palace Jar•" with & won– drrful rti:hne" aclllevecl with co~ tr nient.a, dr pU, ot· ah•w anC 1ublle ni•def t>! d:1 white, bl'Ow• and toluel.sh rrey. · The organically rlow– ln~ de.,lgns or hla erollr. 1,11dscape pot.', \\'here h u m n Aha J'l':!li mtrge "·Ith 1:hose or pl•nt• l'tbr• t• "1th th• warmth of. llfr. ''the inullusoalda with !Mir aupublJ • eoiitrolled ...,uln1 fimale, al \1 IJ)lr&llln, ,oona'1,Jctlons atf111 and ~f eJi V .,,.,...,. of<aa&CIJ,;- 1"&fP·v<1 "'' ~lllltl o<J pertlot and-, 1mstllvtty: ' u 0 ..- .~ U &1 no wonder t.hat on• of par\.lculalJ•, - dra• thea Mll)Ob p\ecea Un• lnp. ' -,r:TT, clulM<I, horel won 1-ra,111 / Only ont lll'l't pain, a '"'1?'1f'~~t ~~"~;~ ,"f/1 111 Textures," create-:,:'h.a JORN GILBF.BT , al,o po"·erlul te1111on t>eiwee -.ktn, _.., ..... repul•lon t,y•a ll,o,ei,rh Australian r.~raml•la, u - ly morbid lmai;e and at• hfblta aialn al Deal1 • tr•ctlon ff virtue ol lU Arts Cenk'e, artlst:c~ clrectfve han, The wann apPf&l. ..,~ . 41111&, ''. 1 • h\a pot., mlMs Iii ·""' MQS'f , or 8tlllbe llflfll'OM~ ' ,--..,ee ~ . t1purti.r'1 non-obJectlv Dll'rect ,'fi! 'palnUllllll•~n c&nvu the ma if · n•- vartaUons or one UM tur• rorma, are hi& a dtrp-red or bNwn \nsplraLlon. red co\ourrleld, the de n,e mor. ..,. tint enr- hot, •moulderlna •tlllne u\fed bv b!ChnlllP!IIY,• \he or which la areMed b more we like to ;1'.frmun<! one or l WO thin cool -col ourselves wil.b obJecla 01·•d lm81, aa well u oLh close to the eo.rth. er sp..,.,;ely dlatrlbu GIibert prefers ~ r.Luru ohapea. - RlU ., h I r. h 'reNmble bsrri s o rr. e ti-rec,iMr, IOIII w•• therwom, roctn and 1tatlc, .ame mobile. dried mud, IIDm• P"!a Th• pa.In\~ an - I OO It d~~'felY like pltmented IIJ' Wllrks OIi \ I nl b. or t.reeA with paper, wll,INt l'!pu crooked hart. ~ hll .,phla\lcn.Uon to How_, Wien La ftll• , croate ]1Qa1l"I Mlltntt, ety ol lnrma and cucr>ra- lm&l"!I whicll ·, une,it , lions. rra,mtnttd world wlwr The l •tt.er , whether In- .,,n., or a llf't-4111Ull clM<l. bN£he<1. or Inlaid order are sensed. ,.. I t h d I f / e r O n t cla)'11 blend tonally with ui• e111·tbJ color ol ~h• !>ody and, or cour'41, •r• part ol th• tol Ill lolllle, CONTIUSTll«l wllh lho non -utlfltarlan M • nunlr.< dfllCu,,.•ed 11N Al– Mr\ v,r,ebvnen•• prr.c,– tlral pot.I whloll ...i.ere 11 t ht rfllk - . i,i. Eu– ropea,, lra&Uon. T11ese are dlspl•yed • L rr•f·., A.~l&tlOll O•l – \r ry, wl)tre they are nlcr– lv cnmplemented by Sue Shept1erd'• well - cu lled we• 1•ln1• for peraon&I •nd dOll11!•~1o us, . * TWO exhlbl Ions at Ray Hughes ar'i by John Aland anr;i Ste phe n Spurrier. John Al ct·• exhlbl• 110n " hlrh t• '""Inly or slyh.1h dr11 wma•. em•- 1"1ts I\ poelry con m ed whit evll. Ml>'I of lht work• rt· ,·o \'' ,nound ht, doom~ * BRISBANE' Rob:rn Moui:i-.,t, hu no\ shown ltet since lle8. Hfl pr~•nt el<lllliltlC at !tall~ Olllety af '11'01 In tht 10., oll•r.t pl– •urprl5es a, \0 Iba " : &b• h"-' drveloi-d, Her recent painting, •re ,on. I "r!MI and "open.'' Kowem, artier hurdedae aolour palnt – lnp do l1el • a ro– man\.lc llJ>vOIII'. n ,1, le .en In her \afie "Oolou~ llo'1nl''. where 8CQUen~ ft( dla· mond , hapes In neh\J ~rodtd coloun eNatf II, lu.1lortlgtlc l\1llln1 move– ment.a &11&inst a b&c\1n1 or blue sk\' with slen<kr whttl."' clnuds. /I rollccllon or her 1 r • c • r u l drawln11 In• clu~e ""n" 1'here 1, OM· a. vell•et chair on the t, ~ ~ e h me\llr:torpho.~111 tnll" hum n forin.