Idk why this dumb embed isn’t working but can you please watch Holley’s video All Round the Bend it’s so nice, it captures in the song his belief in divine intervention to create his artwork and that his artwork’s direction really comes from within.
Holley is a man of many myths and talents. Born in Jim Crow-era Birmingham, Alabama, as the seventh of 27 children, Holley traveled across the South and held a wide array of jobs before making his first artwork at the age of 29.
Well known for his assemblages, Holley incorporates natural and man-made objects into totemic sculptures. Materials such as steel scrap, sandstone, plastic flowers, crosses, and defunct machines commemorate places, people, and events. The exhibition will feature a selection of sculptures and drawings on loan from the artist. In addition to these works, Holley will create site specific installations reflective of the spontaneous and improvisational nature of his creative process.
Davila’s work I have loved, very confronting, satirical imagery combined with an expressive use of colour while involving comic-strip seperation and masterful figurative depictions leaves me with no further desires.
Stepping from the politics of art to political art is easy for Juan Davila. Arriving in Australia in the wake of the Pinochet coup in Chile, he brought a Latin American understanding of the post-colonial and the fragility of independence in the face of superpower politics. (1)
The Moral Meaning of Wilderness at Monash Univeristy of Modern Art (MUMA)
“The ‘Moral Meaning of Wilderness’ exhibition is a tour of the various approaches to the landscape: ‘plein air’ painting, studio landscape work, sublime landscape, historical evocation of landscape, modernity and the landscape, natural disaster, childhood memory of a landscape, woman in the wilderness. The ‘After Image’ works seem to refer to fantasies, inner space, unnameable objects, microcosm and immense space. Within the representation of “the land” one easily forgets that we are dealing with complexity and a field of projections. The political, the sublime, the moral stance, corporate destruction and the future of our environment come to mind.”
– Juan Davila
“The after-image is a momentary body-memory – not intellectual but bizarrely willed – perhaps a bit like the recollection of a dream or the instant slip that uncannily reveals the unconscious. In monumentalising this trace, Davila delivers us to another ethereal zone: the breath of libido, buffeted by clouds of repression and misty internalised myths. As portraits of evanescent memory, they are wantonly memorable.” (2)
While his paintings have often fractured images into multiple parts, Davila’s work has also consistently drawn upon figurative traditions, from portraiture to narrative tableaux. His subjects are often people of ambiguous gender, mixed race or marginal social status, questioning public attitudes to identity and sexuality. Davila’s more recent series focusing on the treatment of refugees continued this approach, using the human figure to explore the psychology of current events and situations. These works, along with Davila’s recent portraits and studio paintings, also represented a major stylistic shift over the previous decade, while maintaining the artist’s commitment to a socially engaged art. Working in a mode reminiscent of 19th French salon painting, Davila rejected the cool detachment of modernism and postmodernism, infusing his figures with a sense of beauty, intimacy and emotion. (3)
I recently had whanau visit in Melbourne and had sweet surprise seeing koru and tatau patterns used in the artwork by Tama tk Sharman (site). Serious love eye emoji feels when coupled with mould, phallic pieces and the word cunt on a title card.