Eleven artists present nine disparate exhibits in a variety of media, the common denominator being light. The brief was broad and the response equally wide with light being interpreted as sight, sound and suggestion.
Inscape by Eleanor Ray is a collection of ambiguous photographic images. The limited colours expand our interest in the play of light and shade. These fascinating works illuminate a labyrinth of imagined places and spaces, some suggest a residence in the present, others a mysterious mausoleum from the past.
Equally intriguing is Julie Wilson-Foster's Behind the Garden Wall. Her 'shrub' constructed of white plastic milk containers is quite beautiful, eerie and frighteningly futuristic. I remember its companion pieces displayed in Curtin University's graduate show and still find the concept and objects highly thought provoking. Is this a recycler's dream or a preview of the inevitable if we continue along our current environmental path? The work emits a warm translucent glow reminding us that inherent values can to be found in even humble places.
The inherent value of motifs and patterns that reach out to us from antiquity are often dismissed in modern times, perhaps because of their familiarity. A New Dawning by Andrea Williams illuminates the tangible and intangible world with her concentric spiral of dot-like light. Placed vertically it appears static and mute, then we notice the spiral's reflection dancing, to some silent tune, on the polished floor. As we move back and forth in front of the exhibit we are partners in the dance.
Freefall by Philip Gamblen provides a wonderful environment where we consider light, dark, movement, sound, illusion, film and a host of other contacts between the physical and conceptual attributes of light. A highly provocative exhibit. As is Feeding Back, a composition of light, music and the human element presented by Mark Cooper and Justine Dalziel. Sit back and let your body language orchestrate a harmony of sight and sound. It is a very pleasing experience - despite the warnings posted by the door.
A warning should be posted to caution the mildly claustrophobic, older or wider viewer of the user unfriendly aspects of Discontinued Line by Felena Alach and Mick Hender. The responses of those who did squat walk in, stick their heads through a small opening, look for a second or two, then squat walk out again, included "Didn't see much. It's cute. Little toys or jelly babies or something." These were not sufficient to encourage my entering the installation.
Fragile, Imprint, Soul, Self, Industry, Nature, Life by Trudy Gripton is totally incomprehensible as a collection of objects but her verbal explanation does include the right post-modern buzz words (most of which are contained in the title). And Bec Dean's Videofollies 1 & 2, although pretty, is a tad boring. If she's trying to access the mood of old black & white flicks, she could learn something from Philip Gamblen, Eleanor Ray and Orson Wells.
Domestic Bliss by Paul Caporn is disappointing. The artist writes of "slippages between words, objects and their meanings", interesting concepts of semiotics which have been explored before. But where are his ambiguities of symbols? Bending a red neon tube into the word 'hot' over the base of a cold iron, or scripting the word 'flow' in blue neon running from a tap that isn't hooked up to plumbing, is all too obvious. There is no obfuscation here, no parallel path to an alternative interpretation or concept, no Magritte-like confrontations, no Man Ray notions. Caporn offers an excellent installation but it asks no questions nor offers any conclusions.
Do see the show and feel the glow.