{"id":4831,"date":"2013-09-26T18:26:48","date_gmt":"2013-09-26T08:26:48","guid":{"rendered":"http:\/\/www.idaia.com.au\/en\/?p=4831"},"modified":"2013-09-26T18:37:58","modified_gmt":"2013-09-26T08:37:58","slug":"visual-music-masters-of-light-and-colour","status":"publish","type":"post","link":"https:\/\/www.idaia.com.au\/en\/visual-music-masters-of-light-and-colour\/","title":{"rendered":"Visual Music: Masters of Light and Colour"},"content":{"rendered":"
\"Exhibition<\/a>

Exhibition ‘Visual Music’ at NGV International, Melbourne \u00a9 IDAIA<\/p><\/div>\n

\u2018The highest achievement of the greatest work of art is not to make us laugh or cry or to raise our lust
\nor anger but to do as nature does, to fill us with wonderment\u2019 <\/i><\/p>\n

–\u00a0 Lucien Freud<\/p>\n

From August 10, 2013, the NGV Collection focus is on 8 leading female Indigenous Australian artists: Lorna Napurrula Fencer, Pulpurru Davies, Mirdidingkingathi Juwarnda Sally Gabori, Kuruwarriyingathi Bijarrb Paula Paul, Wakartu Cory Surprise, Alkawari Dawson, Pukarlyi Milly Kelly and Wingu Tingima.<\/p>\n

Each of these artists \u2018unashamedly engage with the physicality of paint and the fearlessness of colour, and are unconstrained by precedent or by preconceptions of Indigenous art.\u2019[1]<\/a> \u00a0As suggested by the title of the exhibition, Visual Music: Masters of Light and Colour<\/i>, <\/i>their works illuminate the gallery with their considered layering of invigorating colours, filling the space with energy and emotion.<\/p>\n

It is particularly exciting to view this exhibition at the National Gallery of Victoria\u2019s International<\/i> home during its peak Winter Masters season as the works are exposed to an amplified number of visitors each day.\u00a0 Visual Music<\/i> is a dynamic contemporary companion to Monet\u2019s Garden <\/i>with both exhibitions focussing on the evocation of nature and light, through the free application of colour. Just as Monet was so deeply inspired by his garden at Giverny, the women of Visual Music<\/i>, are too inspired by their surroundings, each demonstrating a personal connection deeply rooted in the Australian landscape.\u00a0\u00a0 The gallery\u2019s holistic curatorial approach is brought together by C\u00e9leste Boursier-Mougenot\u2019s synaesthetic installation, \u2018Clinamen\u2019 (2013) which ties the two exhibitions with both its allusion to Monet\u2019s floating lilies and its sensorial dimension.<\/p>\n

Furthermore, the focus on the female Indigenous perspective in Visual Music<\/i> is refreshing. I was particularly captivated by the works of Mirdidingkingathi Juwarnda Sally Gabori and Lorna Napurrula Fencer. It is hard not to be enveloped by Gabori\u2019s loud, large scale \u2018Ninjilki\u2019 (2008). This work depicts \u201cthe dirty water off Ninjilki caused by schools of dugong feeding on the sea grass on the bottom,\u201d[2]<\/a> demonstrating the artist\u2019s keen understanding of her local ecosystem.\u00a0 Combined with this knowledge, the works strength lay in its minimal aesthetic and free application of bold, contrasting colour.<\/p>\n

Contrary to the crescendo that is the work of Gabori, Lorna Napurrula Fencer applies a more subdued palette in her works \u2018Ngapa manu yapa\u2019 (1999), \u2018Wanakiji\u2019 (1999) and \u2018Yarla manu yapa\u2019 (199). These works evoke a softer, more melodic feeling. Fencer uses intricate line work and layered patterning to depict kuruwarri <\/i>(ancestral designs) that represent ngapa<\/i> (water), ceremonial body painting,\u00a0 wanakiji<\/i> (bush tomato), and yarla<\/i> (bush potato). Each of her works specifically reference yawalyu<\/i> (women\u2019s ceremonies) sharing with the viewer a vital part of the artist\u2019s identity.<\/p>\n

Other works on exhibition by Pulpurru Davies, Kuruwarriyingathi Bijarrb Paula Paul, Wakartu Cory Surprise, Alkawari Dawson, Pukarlyi Milly Kelly and Wingu Tingima equally activate the gallery space in a celebration of culture, colour, and rhythm.<\/p>\n

 <\/p>\n

References:<\/span><\/p>\n

[1]<\/a> NGVI <\/i>wall text<\/p>\n

\n
\n

[2]<\/a> (2008) Sally Gabori, as quotd on NGVI <\/i>wall text<\/p>\n<\/div>\n<\/div>\n

 <\/p>\n

About the author:<\/span>
\nHayley Haynes is a curatorial contributor based in Melbourne. Hayley is completing a combined Hounours degree in French and Art history at the University of Melbourne, writing her thesis on Lena Nyadbi’s Dayiwul Lirlmim rooftop comission at the Mus\u00e9e du quai Branly, Paris.<\/p>\n

 <\/p>\n

NGV INTERNATIONAL, Melbourne<\/b><\/p>\n

Visual Music: Masters of Light and Colour<\/i> Opens 10 August (Temporary Exhibitions, Level 3)<\/p>\n

C\u00e9leste Boursier-Mougenot \u2018Clinamen\u2019 03 May \u2013 30 September<\/p>\n

Melbourne Winter Masters: Monet\u2019s Garden<\/i> 10 May \u2013 8 September 2013<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

From August 10, 2013, the NGV Collection focus is on 8 leading female Indigenous Australian artists: Lorna Napurrula Fencer, Pulpurru Davies, Mirdidingkingathi Juwarnda Sally Gabori, Kuruwarriyingathi Bijarrb Paula Paul, Wakartu Cory Surprise, Alkawari Dawson, Pukarlyi Milly Kelly and Wingu Tingima.<\/p>\n

Each of these artists \u2018unashamedly engage with the physicality of paint and the fearlessness of colour, and are unconstrained by precedent or by preconceptions of Indigenous art.\u2019[1] As suggested by the title of the exhibition, Visual Music: Masters of Light and Colour, their works illuminate the gallery with their considered layering of invigorating colours, filling the space with energy and emotion.<\/p>\n","protected":false},"author":1,"featured_media":4841,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[71],"tags":[],"class_list":["post-4831","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques-curatoriales"],"_links":{"self":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts\/4831","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/comments?post=4831"}],"version-history":[{"count":7,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts\/4831\/revisions"}],"predecessor-version":[{"id":4848,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/posts\/4831\/revisions\/4848"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/media\/4841"}],"wp:attachment":[{"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/media?parent=4831"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/categories?post=4831"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.idaia.com.au\/en\/wp-json\/wp\/v2\/tags?post=4831"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}