REMOTESENSING

REMOTESENSING

3 Artists from the South West of Western Australia
represented by Galerie Düsseldorf at Art Fair 2000, Melbourne, Australia
4 - 8 October 2000

Douglas Chambers - Galliano Fardin - Howard Taylor

REMOTE SENSING


Any introduction to this exhibition should re-iterate that the language of Art is predominantly a visual sensation deeply rooted in perception and a final realization tuned into a special understanding.

The artist continually attempts to make sense of that in which he or she is immersed.
In the case of artists living outside of the big cities the local environment plays a major and pivital role in the manifestation of the art produced. The consequence of location allows for a clearer and more empathetic relationship with nature allowing for a clarity rarely perceived in metropolitan regions.

This artwork becomes the symbolic representation of an original clearer idea, manifesting itself in diverse forms. In the remote landscape there is a complex transparency through which the artist negotiates and finally holds down the image.This image begins its own life as a transparent under drawing to that which is finally viewed at the interface (artwork) - the product of a series of hierarchal instructions, observations, experiences and translations.

In fulfilling its obligation to satisfy the ambiguity of artistic creation and human taste, the artwork turbulently awaits future translations and re-renderings by somewhat displaced city dwellers. Their proximity to real experience is often dulled by proxy - the television and the media in general stepping in to heighten experience through a 3rd hand reading.

Within this particular selection of artworks from the South West of Western Australia there are many works to which one can apply a universal strategy of understanding, other works require a more open attitude and intense involvement.

To the newcomer, a visual dislocation or partial rupture of the senses may occur when trying to make sense out of a particular rendering of the land or environment.
This latter manifestation shares more with the renderings of Stockhausen, Japanese Etenraku or the late John Cage, than with a more traditional view of landscape or visual language in general. For we may experience and marvel at notations even when we are unable to comprehend or translate even just an extract from the intricately beautiful structure of marks.

Through this group of works one can examine connections between a universal language of art, what this language can arbitrarily do and how these remote artist create order out of a network of sometimes chaotic instructions and random interfaces that they have chosen to move through.

This tuned sensing produces images of the remote and a critical complex made ready for further interaction.

These artworks from a very distant and remote Western Australia are the realization of localized renderings and experience but are also very importantly about themselves !

The viewer's responsibility is to connect these works to the outside world through their own baggage of personal and cultural knowledge, comprehension and comparison.

A more complex essay contextualizing the work of Douglas Chambers, Galliano Fardin and Howard Taylor will accompany this exhibition.


Douglas Sheerer (MA) Director, Galerie Dusseldorf, Perth Western Australia 1999