When:Opening 2pm Saturday 8 February until 7 March 2020
Tony Curran uses algorithmic processes to stack coloured forms into fake vistas that simulate phenomena observed from landscapes around Canberra and regional Australia. Using systems such as colour gradients and randomised stacked shapes, the paintings, etchings and custom software lean towards conventions of folk landscape painting through a digital vernacular.
Curran’s landscapes are composed from the flat and blobby marks of digital touch-screen applications and borrow from the rounded simplicity of the graphical user interfaces (GUIs) of Web 2.0 and smartphone environments. They are intended to be simultaneously a take on the natural world as well as a site imagined through the devices with which we increasingly replace the real world.
Artwork: Waratah Lahy, Night hedges, 2019 oil on glass, recycled timber light box glass 8 x 8cm light box 14 x 15 x 6cm. Phot by Brenton McGeachie.
Waratah Lahy is a Canberra-based artist whose painting depicts contemporary suburbia engraved by the tradition of snapshot photography and 19th century phantasmagoria. Her work uses the method of the dérive, or aimless wandering to detect anomalies in the suburbs.
Part flâneurism, part neighbourhood watch her paintings from snapshots of peculiarly pink houses and anthropomorphised hedges advocate for a view of the everyday as magical. In her engagement with the nineteenth century practice of the ‘magic lantern’, a proto-cinematic form of parlour entertainment, her work luminously asserts a sense of the hand-made in an age of photographic representation.