War horror a theme ‘Rivers’ paintings

Press, 9 July 1986, Page 23

War horror a theme ‘Rivers’ paintings

“International Year of Peace,” an exhibition of works by Pat Unger, at the C.S.A. gallery, July 1 to 13. Reviewed by Penny Orme. Pat Unger’s exhibition of works, devoted to the International Year of Peace, is concerned with the endlessly topical and always relevant theme of the horror and futility of war, particularly the al-ways-present threat of nuclear destruction. The artist uses a broad range of methods and approaches, and a variety of media to explore the theme. The results generally demonstrate fine craftsmanship, and convey a broad visual Interest and appeal.

An effective device is used in several of the works: the paper is torn, folded and mounted in vertical strips or panels which project about 10cm. This is a method of conveying multiple

images developed by the op artist, Aqam. In Unger’s work, the device is used to add impact to the message. The viewer approaching the work will perceive the side of the strips mostly covered in dark, smokey washes to create a dull, cloud-like effect, but as the viewer passes in front of the work the reverse side reveals a brilliant stained and splattered surface. These quite dazzling light and colour effects are used to suggest the horrific heat and overpowering devastation which would result from a nuclear blast. Other works use delicate pencil drawings to portray the personal effects on human bodies and minds, of loss and injury through war and nuclear radiation.

The artist’s message is further emphasised in these works with the

play of irony in the titles used such as “Victory” or “Remember the Future.” The series of works is finely presented in perspex box frames which are compact and intimate in size, thereby avoiding a frequently tiresome bombast of the large scale. The general impression gained is a display of a range of painting and drawing skills that successfully exploit the possibilities of various media. The artist has exercised a certain astuteness in the manipulation of both the paper surface and the paint media, and the message is presented with a well-rounded cerebral control.

Ironically, however, some discomfort may be aroused by the very qualities admired in the works. For it is the rich and sensual visual appeal of the colour and design of the sequence that ultimately belies the artist’s intention to shock and disturb.

Instead, we admire the display of obvious intelligence, sensitivity and visual astuteness which give the works their undeniable impact. For these qualities have tended to overwhelm the stated theme and crucial message of the savage inanities of war — especially nuclear war. This, of course, is possibly only a personal response to what must be acknowledged as a most accomplished exhibition.

“Rivers” paintings by Linda James at the C.S.A. Gallery until July 13. Reviewed by Pat Unger.

Water flow and surface disturbance is the basis of a bold attempt by Linda James to express "balance and cycles” in her latest exhibition of large works.

Three hangings titled "River” use great amounts .of swathed hessian over long drops of material. These suggest movement and countermovement, in contrast to the other works which are more two-dimensional and static. Still associated with rivers and their environs, they explore mark, shape, direction and paint on various grounds. The largest work, of draped, cut and crossed hessian, is painted with quick, gesturing brushmarks: rough-hewn, untidy and muted with the

dull-coloured material, this river is sluggish and choked with netting. Clearer waterways are suggested in No. 8. Compositionally tighter and more colourful, it allows the simpler ribboned hessian indicating surface rippling, greater impact. James shows the influence of Philip Trusttum in a brown-paper and tomcollage work, “Hurunui.” Vigorously covering the entire surface with complex marks, she keeps chaos at bay by a balance of line and space. This yellow, white and black work shows conviction and control. Three “untitled” works, protection screens or the roofs of river huts, appear painted at speed. They are dark and only No. 10 is enlivened with brighter coloured marks that animate and reinforce their shapes, which are other-

wise simplified to the point of boredom. An arc painting suggests Gretchen Albrecht’s recently squeegeed shapes, and “Epicenter” can only be a Pollock drip-a-like. James appears not to waste time with detail. In her preoccupation with the process of mark-mak-ing, paint and the conceptualisation of seen physical phenomena, she ignores the flatness of her paint, the dampening colour of the raw hessian ground, and the monotony of some of her shapes. Her brushstrokes, dribbles and splashes on various cut, collaged and sewn grounds, show her searching exploration for an artistic vocabulary and a distinctive painting style. Her continuing adventure will be worth watching.