Koush Design- echoing the heart of the client

One thing that I learned after visiting the Bowerbird Design markets was that Adelaide is very much a mecca for furniture design. Koush is an Adelaide design company specialising in just that. I have seen and even used their furniture before; however, I never realised that it had been custom designed for their clients. They have provided the furnishings for a variety of Adelaide hospitality businesses such as; The Banque in North Adelaide, The Queens Head, Sky City, the Grand Chifley and The Promethean to name a few. They have also designed furnishings for many commercial businesses and the Hindmarsh Public library.

The unique thing about Koush furniture is their social and environmental responsibility. Their furnishings are designed to last and if styles or the colour schemes in their client businesses change they can be easy refurbished.  Their designs are such that the items can be integrated in a variety of different ways allowing the user to change the furniture’s position depending on their needs. This “Pod” concept is a feature of Koush design and gives their furniture longevity within the client environment.

The Hindmarsh library

Their brief was to primarily design furnishings for children; but, also make them comfortable for adults. These sofas have a variation in depth that makes them able to be used by people of different heights. The sculptural sofa mat is moveable and encourages play and interaction. The colours in this sofa reflect the tones of the surrounding books, bright and full of life.  The curved shapes balance each other’s forms and reflect the key elements. I enjoy looking at this lounge as it has soft organic forms that are balanced with an elegant smooth line that evokes a sense of stability and comfort. As this sofa and mat were designed primarily for children, the colours themselves needed reflect an energy and vibrancy associated with young folk.

Sky City

The sky City furniture is designed suit a changing crowd. They interlock in a variety of ways enabling the users to move and position them as they see fit.  The tables, sofas and ottomans are all based on geometric shapes that are well-balanced. Each form reflects elements of the surrounding shapes and environment. This creates an elegant and comfortable look to the design. A vibrant red energises the space evoking and element of style and waking the senses.

The Grand Chifley Hotel

Koush Design created the furnishings for this stylish hotel in the city. Art Nouveau motifs have been stylised and applied to many surfaces including the light coverings and floor.  The brief was to create a spacious warm, atmosphere that reflected the botanical elements of the parklands. I love the feature floor rugs and the choice of colour throughout this space.

www.koushdesign.com

Looking through the eyes of Pierre Baroni

Pierre Baroni lives and works in Melbourne primarily as a radio announcer and DJ but also as a photographer. He started out designing record covers in 1990 and progressed to photography shortly after, taking shots of the people he was designing record covers for. He has a very unique style to say the least. I came across his work in the Geoffrey Stapleton Gallery on the night of the Cabaret opening. In short it captured my eye his large black and white shots show case the subjects in a way I have not seen before. It is the way he frames his subject that primarily makes the shot work. The tones highlight his subject and show cases them. The Adelaide Cabaret Festival shots adopt a kind of old world carnival theme with singers, escape artists, illusionists and painters.

Seppo 2012

“Seppo 2012″ is a portrait of a tattooed individual; his chest is uncovered revealing a myriad of thorny body art. He is further adorned with piercings and jewellery; primal elements connecting with a tribal understanding. The contrasting light within this work draw our gaze toward the face. A face scarred and marked with ink. Baroni has allowed the portrait to rest in shadow. Deep tones frame the face and even the subject’s eyes are draped in darkness. Yet through the dim tone cast by the subject’s hat one can see a watery reflection in the eyes. One of the features of Baroni’s photography is that he highlights the subject’s eyes. When we can see a person’s eyes they are allowing us in, to get closer and revel something of who they are. Seppo seems a thoughtful character, one who has had a lot of experiences.

Bromley 2011

Bromley 2011 captures the Cabaret Festival artist David Bromley at work in his studio. Again the use of strong contrast drags our eyes about the work. It has been framed with shadow, and the focal point is on the artists face. It is here that we eventually connect with the subject. Baroni has used depth of field by opening the aperture of the lens to keep the profile of Bromley’s face in focus and let the rest of the frame remain blurred. Naturally our eye settles in this space.  Baroni has also taken note of how the subject must be lit. Background light highlights the edge of Bromley’s chin.  This photograph has been wonderfully balanced with light and tone.  This work allows me to connect with what the artist is thinking, the relaxed concentration in his eyes and soft grip of his brush reveal  a precious moment in the busy life of an artist.

“Max” is a child that features twice in this photo shoot and here again depth of field has been used to keep the subjects eyes in focus allowing the rest of the shot to become blurred. I love the tonal variation in this work, the way the light reflects off of various surfaces and the way the subject has been framed. When I stood before this work I was able to connect with the subject in a way that evoked a lot of emotion. There is an element of childhood innocence that people can connect with, especially if they have children.

Pierre Baroni proudly confesses that he is untrained in the art of photography. While this may be true he is certainly skilled in his ability to frame a shot. The way he balances his subject, what he allows into the frame and the way the tonal qualities have been accentuated reveal to me that he may have more understanding than he lets on. One thing that is apparent in his work is that he breaks many “rules”, some of his subjects are out of focus, drifting away in the shot.  Baroni’s work is beautiful in that it reveals the subject with honesty. The people he photographs may well be superstars but the reality is they are still fragile in their humanity.

This exhibition is one to see in the flesh. The large C-type prints are the way all photographs should be displayed.  It is on at Geoffrey Stapleton Gallery until the 24^th of June.

http://thegeoffreystapletongallery.com/

Pierre Baroni’s face book page

David Bromley- life might well be a cabaret

David Bromley is one of the most famous artists in Australia today. Originally born in England, he moved out to Australia at the age of 3 and a half. Bromley worked for many years in Adelaide and all over the world; however, he now resides in Melbourne. His work explores two main genres, the “Boys Own” or children’s/adolescents adventure series books and the female nude, interspersed with these two themes are birds and skulls.  He is a greatly influenced by Andy Warhol and his work is of a similar ilk; reproducing artworks based on popular culture in acrylic and oil.

I first noticed David’s work in the most unlikely places, moving past me on a float in the Christmas pageant it was at this point that I thought, this guy is pretty well-known.

I met him at the opening of his exhibition for the Cabaret; he is certainly a personality in his own right, even though this was not his intention. I was interested in writing about him, not only because he is one of the most successful contemporary artists’ in Australia today, but also because he was is an ex-Adelaide boy.  He began his career as a potter but eventually turned to painting.

As I looked through Bromley’s work I was amazed at what I saw. I could easily see why his work is so popular.  The exhibition contains a variety of works but is weighted towards the display of his “Boy’s own annual” works and a selection of pottery and sculpture.

His work can be found at the “Bromley” Gallery (Lyrics, adjacent Festival Theatre Foyer).

When I asked Bromley why he painted birds and he said because they are beautiful. They certainly are, as Bromley paints them.  In this painting simply titled “Birds” the birds are depicted in a variety of poses. They flip and dart about the silver negative space. They are distinctly outlined with black line. Colour is a feature of these birds, their bright reds and vibrant blues drag your eye about. Cream streaks and splattered colour provide an interesting break for the eye. This work was initially a painted canvas background that was painted with bright colours. The negative space was filled with deep black and finally embossed with silver leaf. In many ways it reminds me of the old illustrations that might appear in children’s books. The line work is reminiscent of the graphic style of that era; undulating and bold, it is weighted to support the dynamic subject matter.

The real strength to this work is the flawless balance and brilliant composition that leads the viewer’s eye about the work.  Bromley is a true pop artist, more often than not the pop artist leaves the viewer to decided their own interpretation of the work rather than explicitly provide it. For many that is its appeal. “Birds” is one such work. A bird is an object that symbolises so much; ideas of freedom, sexuality and fragility. The viewer is left to construct their own meaning, making this work quite versatile for display.

“Bubble Boy” is an Acrylic and Oil on Canvas work spanning three panels. It is an excellent example of his 1950’ boy’s annual style. The images have, seemingly been lifted from the pages, with their colours intact and placed on the canvas. In the first panel we see three children; two boys and a girl. The girl is kneeling, dressed in red, her hands folded in a relaxed posture. The two boys are engaged in play; one in s sailor suit with a boat in his hands and the other is blowing bubbles which drift across the remaining panels. In the second panel there are 4 children, two boys and two girls paddling a home-made boat created from an upturned table with a blanquette as a sail. They have homemade oars and are sitting on small wooden stools. A girl at the back is waving a pirate flag, the group is engaged in joyous play.  In The final panel there is a girl in a golden bird suit, its head as a cap. She is looking outward, away from the other panels. Two animals are also placed in the scene; the lower is a kitten involved in an old style hoop game while the other is a duck, playing its own game of “boats”. This character is looking through a telescope with a red bed sheet at the rear of them. The negative space on all three panels is filled with blue while the edges of the canvas appear rustic and worn. The colours of this piece have been; once again, beautifully balanced, and the figures positioned in such a way as to engage with the viewer yet not detract from the flow of the work. Overlap has also been utilised to create interest and unite the characters in this work. Again, with this work the Pop elements are apparent, the viewer is largely left to decide the work’s meaning for themselves. The most appealing aspect of this Bromley genre is that he has selected characters that evoke a sense of nostalgia. I have seen this type of imagery before, maybe it was on my parent’s lap feeling warm and protected as a story was read to me. Maybe I remember blowing bubbles as a child or pretending to be pirates. There is an innocence with Bromley’s images that evokes with the viewer a kind of reverie where I am transported to a time and place that was wonderful, where imagination was cherished and where creativity flourished. Bromley gives us that gift through his work and it is no wonder that it has such a wide appeal.

As I researched Bromley it is apparent that he also has his critics, because of his mechanical working methodology he has produced a plethora of work. It is almost as if his working style is mimicking Warhol and his factory. Like Warhol, the main criticism of his work is that it has become rather predictable and geared for sale.  Still, I wouldn’t mind a Warhol on my wall and I feel the same about Bromley.

http://www.davidbromley.com.au/

The Contemporary AlchEmy of Johnny Darko

Johnny Darko is a unique individual with a distinctive working style. He produces large canvas works created with Gold, silver and copper leaf that have been etched by acid to create an intricate, fantastic surface texture that captivates the eye. I was able to view his work at Greenhill Gallery and they are a must see either there or in his studio in Glenelg (by appointment). The only downside to this wonderful work is that photography simply does not do it justice. Each of the large canvas forms have been coated with a sealing resin that is glossy and reflective. Upon the resin and sometimes under a few layers, fine speckles of material, such as gold dust can be seen. This dimension to the work makes it extremely attractive to the viewer.  One must simply examine the work standing in front of it, moving about from side to side to see the full effect of the technique. Darko was originally from the United Kingdom and came out to South Australia and delivered his first exhibition “Tarnished” in 2009. His works are influenced by the worn walls of ancient buildings throughout Europe, archaic churches and worn furnishings.  The exhibition is titled “I am king of Salt and Stone:The Alchemical Manuscripts”. This collection draws strongly on early chemical manuscripts as well as religious motifs. He practises a kind of reverse alchemy, instead of turning base metals into precious ones; through his processes he erodes the precious metals transforming them into something altogether new. There is something very ancient inside of daRKo

“Winter’s Stag” is an ominous work created from gold leaf, acid has decimated the surface, eroded and tarnished the gold. In fact gold is the most nonreactive element, so the reactions and discolouration caused by the acids applied to the surface are caused by the impurities in the gold leaf. This work contains a stark dark “stag” in the centre of the work. It is a smoky faced shape that drifts into the picture from below, whose golden eyes gaze out at the viewer. Its horns are curled appearing more ram like than deer.  A tarnished, hazy upper surface balances the form while the intricate textures on the surface interest the eye and envelope the imagination.  There is s smoky, burnt appearance upon the surface, yet even this is balanced by the speckled gold dust trapped beneath the layer of resin on the surface. The rectangular shapes of the gold leaf divide the work into sections, a grid pattern that compliments the weathered organic feel.  As I look at this work I can see many themes being played out, opposites; the natural world and the constructed, light and dark, good and evil. I feel there is a God like resonance in within the gold leaf of this work, yet the portentous stag seems to bring with it an evil menacing tarnish that might envelop the golden glow.  There is within this work a counter play that might describe a cosmic battle that has existed for eons.

The “Skeptical Chemist” is a work composed of gold, silver and copper leaf etched with acid. The words are from Robert Boyle’s book, the first edition of which was published in 1661. Here Darko has displayed the cover text of the book which reads – “The Sceptical Chymist: or Chymo-Physical Doubts and Paradoxes, Touching the Experiments whereby Vulgar Spagirists are Wont to Endeavour to Evince their Salt, Sulphur and Mercury, to be the True Principles of Things…”

Boyle is known as the father of modern chemistry, and for his roots in alchemy; the book is one of the first to refute the popular notion that the elements composing all things were Earth, Air Fire and Water or Salt, Sulphur and Mercury.

I can see why this interesting historical text was chosen to be featured by Darko. The reference to alchemy and the dawn of new understanding are evident within these words. Each word has been created through masking; the acid etching upon the exposed surface. The letter forms can not exactly be called shiny, they glow! As the viewer looks upon the surface it takes on a vibrancy that is difficult to alliterate. Each square links together as distinct parts of a whole to form the entire work. The single sheets are harmonious with each other. The interesting patterns and textures add a rustic demeanour to the surface, contracting heavily with the words. Generally I tend to see the use of written language on an artwork to be rather loud. However in this case the letter forms are muted by the overall sheen of the surface. It is this key aspect of the application of resin that seems to make it work. Johnny Darko’s unique work is still on display until June 12th at Greenhill Gallery, North Adelaide. If you miss out there is always his studio in Glenelg, details on his website.

Johnny Darko Website

Johnny Darko at Greenhill Gallery

Peter Drew- All you need is LIKE

I visited Peter Drew’s exhibition last weekend at A.P.Bond Gallery. Titled “All you need is LIKE” it is a very fascinating and thought-provoking assortment of work, combining Drew’s Studio pieces with his street art concepts in a single space. As with most abstracted work, there is a refreshing complexity associated with the broad concepts that Peter is exploring. He often looks at historic works of art and reworks them using a contemporary technique. In Drew’s pixelated work there is certainly an historic element; modernist works by Matisse and even the Australian landscape painter Hans Heysen has been reinterpreted. An art historian himself, Drew is no stranger to art appreciation.

As you enter the exhibition space you are faced with an acrylic on canvas work; “Jules”, a colourful mix of pixilation and line. Jules was a previous housemate of Peter Drew and is also a street artist, known for his birds and fish around Adelaide. He always listened to music when in his studio, so the photo from which this work was derived shows his headphones around his neck. What is interesting about this work is that it uses line upon the pixelated squares to delineate form. It accentuates the human element to the form. The colours are balanced, harmonising with the repetition of shape. The thick white organic line contrasts with the sharp-edged blocky shapes. This duality of forms could also reflect a duality within the subject of the portrait.

Reinterpreting the work of other artists is a method by which one might understand their own work better. Peter Drew’s works often carry with them an historic lineage and by aligning himself with this history Drew injects his work with the vibrant sometimes lost ideals of old.  With “Nude 2” there is a district reference to Matisse’s blue nudes. Matisse toward the end of his career carved with colour. Pure colour shapes, scissored out, became collaged together into perfect forms. Peter has echoed this bold application of colour with the body of his nude, in “matissian” blue; she sits upon the ground, clutching her legs thus modestly concealing her body. Her head and in particular her face however contains elements of Drew’s previous work- his signature “face” which can be seen throughout Adelaide streets is shown with its distinctive pick blushed cheeks.

In a similar homage to modernist ideals; Drew has painted “Woman Ironing Out a Text Message”, which is influenced directly from Picasso’s painting “Woman Ironing”. To Drew this work conveyed the meditative qualities of everyday labour. Now though, what is considered everyday labour has changed considerably and consequently, Drew pokes fun at this aspect of our society by attaching a contemporary task to the title. Appropriately, through both of these works,  Drew aligns himself with modernist ideals; as did the artists that created the originals. This is the most fascinating aspect of these art works for me. Modernism as a movement was concerned with the notion of the artist being the creative force. Inevitably it was through abstraction that the artist became free to truly examine the artistic elements. With good abstraction the “memory” of the object should still be evident in the work and Peter Drew does this with consummate skill. By using a contemporary form of abstraction he is also causing us to question our contemporary values; especially the ones involved with communication.

As a person in their 40’s, pixilation drags my mind back to 80’s video games where technological constraints meant that digital imagery necessarily needed to be blocky. Detail in line and form was impossible. To see the true nature of the object we had to finish its construction ourselves. In Drew’s work we can perhaps see a warning; that, in a digital age whereby we are constantly flooded with images, the true nature of the object might be lost in perpetual abstraction. This is no more evident than in “first light in the clearing”. This work looks much like a tapestry containing numerous graduations of colour. Through the title I am engaged with the notion that it is a forest clearing with eucalyptus sapling stretching toward a hazy, warm, morning sky, the pure rays of sunlight just beginning to break through. The original inspiration for this work is still evident in this piece but like the morning it captures is obscured. “Mystic Morn”, 1904, by Hans Heysen is a favourite of Peter Drew. It is an ethereal landscape scene capturing the crisp morning light, breaking through the trees. In Drew’s interpretation; the form is still maintained, the is colour simplified, but the “memory” of the Heysen work is maintained.

There are of course many other works in this exhibition and it certainly takes the viewer on a journey to examine our own contemporary lifestyles and values. In this age it is something we all must do. Please visit this exhibition as it is only on until the 16th of June.

Link to online exhibition at A.P Bond Gallery