MAZIE TURNER | DAN NELSON | ANNEMARIE MURLAND | KATRINA HOLDEN
Erasure is never simply a matter of making things disappear: there is always a remainder that comes about in the aftermath, some mark on the surface from which a word or image or note has been removed. Whether crossed out, written-over or rubbed away, the forsaken item has a habit of returning, like a spectre: if only in the marks that assume its place and assert its passing.
IMAGE ABOVE: Dan Nelson, Fire path 2019, oil on canvas
Please join us for the follow up event and performances Tuesday 13 August from 7:30pm.
Sangria, paella and Flamenco! with Bandaluzia featuring ARIA nominated guitarist Damian Wright, for exceptional Spanish music and dance.
IMAGE ABOVE: Mazie Turner, Out of Darkness - Violet Cloud 2009, oil on belgian linen,
152.5 x 183 cm
Donated by the artist to the University of Newcastle Collection through the Australian Government’s Cultural Gifts Program
During the 1960s, a growing number of artists and writers in different locations around the world and largely unaware of one another, adopted the process of erasure and effacement. In New York, Doris Cross started painting over dictionary pages; Tom Phillips in London began to partially obliterate pages from an obscure Victorian novel; the Austrian concrete poet, Gerhard Rühm used India ink to largely obliterate a newspaper and in Belgium in 1968, Marcel Broodthaers crossed out selected words in a painting that resembled a blackboard.
IMAGE ABOVE: Katrina Holden, Kinship 2019, acrylic on canvas, 40 x 51 cm