Happy pictures, sad pictures

Press, 10 October 1978, Page 20

Happy pictures, sad pictures

“Pyramid Vision,” Paul Johns phonographic exhibition, C.S.A. Gallery, October 2 to 14. Reviewed by Lloyd Park.

This exhibition shows some happy pictures, sad pictures, male and female bodies, and people from the working world — housewives, salesmen, labourers and others, artists, and various illustrated stories, short and long. There are prints that are to be viewed singly, or in pairs or multiples. Instant snapshots on Polaroid predominates, with intimate probings and superficial glimpses. Moods change and images are repetitive. There are closely related sets evoking mixed ideas, some open and others withdrawn, and several disjointed in a pointless manner.

It appears that the photographer’s technique for securing his pictures is of a loose or indeterminate style, and some of his subjects seem to be too closely guarded to offer much of themselves to the viewer in the outside world. They keep to themselves, enclosed in a tight little world of cute wood and plastic boxes. The photographer seems to have a preoccupation with the need to keep repeating himself (some of his pictures have been exhibited recently) with large volumes of images to transport his ideas.

In some cases he would do well to sum up, and simplify his statements in a more economical way which might clarify his ideas. The series “Look . . . look

. .. ” poses a curious question, and “Beverley, as she tries to leave this world,” keeps us guessing right through the series of 21 pictures. A little relief from the serious area is gained by the superficial glimpses of smiling red lips and outstretched hands, and the rather more straightforward pictures of people in Nos. 90 to 99 which are quite pleasing. Here is the “spivvy” looking art dealer, the involved school teacher, the reddened face of the sauna technician, and the artists, etc., to the delightful 13-year-old schoolgirl. The most imposing set has been contained within a square metre of frame and is the most successful exhibit here, because of its large size and the curious visual change which takes place. When viewed from a distance it is difficult to determine what the subject is, but upon moving closer, 30 faces take form in a strong repeating design. On even closer examination these disappear into a mass of strange black-and-white shanss.

Generally the print quality is low, but presentation is neat and pleasing. Prints are for sale, from $l5 to $6O.