In IDAIA\u2019s current project, concepts of site and\u00a0sight\u00a0<\/i>coexist, respectively topos (site) and logos (the language of sight), two symbiotic entities.<\/p>\n
In its full title, \u2018Water mark\u2019 posits water as a trace, as an imprint of the desert, both vital and scarce; but also as a visual sign, intrinsic to place, a key aesthetic of Aboriginal painting. In fact, another duality transpires here: the acrylic technique is modern; yet the narrative it depicts is, still, tradition.<\/p>\n
Time and \u2018mark making\u2019, that is, writing a narrative in pictorial terms, are two important aspects to look out for. Further, water\u2019s vital yet sparse quality, gives clues to the artists\u2019 close affinity with nature and kinship: the canvas charts this consciousness of an ecosystem; it can be read, perhaps, like a mind map.<\/p>\n
The aforementioned\u00a0Gestuelles<\/i>\u00a0in Sydney,\u00a0Water<\/i>\u00a0Mark in Hong Kong (scheduled for September): two distinct stimuli for a similar \u2018corporeality\u2019 of nature: in the latter, water is a reflexive tool of identity; and lens through which the eye can detect and interpret:\u00a0 sinuous lines, curves and circles might connote flux of time or the cosmos; or even the lines in the palm of one\u2019s hand:\u00a0water<\/i>\u00a0lines that connect people to their relatives, to their heritage and to sentient beings as a whole.<\/p>\n
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