Robert MekFerson | Robert MacPherson
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Robert MacPherson Image 1  
Robert MacPherson Image 2
Majfer: Karate (jun) 4 P.B., 1999-2002
Mayfair: Karate (June) 4 P.B.
, 1999-2002
 
Mejfer: Kineski ogrozd 4 EMB, 1999-2006.
Mayfair: Chinese Goose Berries 4 EMB, 1999-2006


Born in 1937 in Brisbane, Australia
lives and works in Brisbane

Image 1:
Mayfair: Karate (June) 4 P.B., 1999-2002
dulux weathershield acrylic on masonite, 3 panels each 91,5 x 122 cm
Courtesy YuillCrowley, Sydney
Photo: Jenni Carter

Image 2:
Mayfair: Chinese Goose Berries 4 EMB, 1999-2006
dulux weathershield acrylic on masonite, 3 panels each 91 x 122 cm
Courtesy YuillCrowley, Sydney
Photo: Jenni Carter

The sign pieces, some thoughts...

They are developed from my thinking further of two areas of my work, `Relics of Boredom´ and the related `Mayfair Bar´ text also the `Scale from the Tool´ brush works and the extension of this idea through the animal – vegetable – mineral works, the idea of symmetry and circularity i.e. the symmetry being completed when the artist holds the brush, a further extension of this thinking developed the idea of an apple in a pigs mouth (actually by tradition a lemon) vegetable – mineral – animal – vegetable completing the symmetry. Also as long as I can remember I’ve been aware of and found vernacular roadside signage, country fresh grown produce signs, roadside gas, food etc. signs, protest signs et al, accumulations of these signs, misspellings (see I’ve done it) strange syntax, the unusual truncation of words, where the writer/painter has run out of board and restarted below, I find a beautiful poetry in this, the constant repainting of signs producing beautiful textural effects, the use of available mounts, paints etc. these grounds producing a beautiful scumbling of line and paint surface, a wonderful directness of means and an unselfconsciousness in the use of paint often lost in so called high art. Also my work has strongly reacted to the so called Australian landscape consciousness theory, most Australian artists have a city-urban milieu, I’m repelled by the disingenuous of this so called (art) trait, the return to the landscape, good grief. I dismiss the notion of a National Art, their art models (even via the U.S.A.) are European models and the so called Australian landscape synthesis is a weakening of the tradition/model certainly not a strengthening of the tradition. The work also comments on the thinness of so much art in Australia on which reputations have been built, when the synthetic spirituality, the so called socio-cultural consciousness, the so called critical support system is removed, we are left with nothing.

Robert MacPherson

October 24, 1993

Biography

Robert MacPherson was born in 1937 in Brisbane, Australia. He lives and works in Brisbane. Among his recent participations in group shows are Das Liede von der Erde at Museum Fridericianum, Kassel, Germany in 2000 and the 13th Biennale of Sydney, Australia and the 25th Bienal de Sao Paulo, Brazil in 2002. Over the last few years he has had several solo shows at Yuill Crowley, Sydney.

Rođen 1937. godine u Brizbejnu, Australija.
Živi i radi u Brizbejnu.

Slika 1:
Mejfer: Karate (jun) 4 P.B., 1999-2002.
vetrobran od duluksa akrilik na masonitu, (91,5x122 cm) x 3
Ljubaznošću Yuill/Crowley, Sidnej
Fotografija: Dženi Karter

Slika 2:
Mejfer: Kineski ogrozd 4 EMB, 1999-2006.
vetrobran od duluksa akrilik na masonitu, ( 91x122 cm) x 3
Ljubaznošću Yuill/Crowley, Sidnej
Fotografija: Dženi Karter

Znaci, neka razmišljanja...

Ovi radovi su nastali iz mojih razmišljanja o dve oblasti moga rada, o ''Reliktima dosade'' i tekstu ''Mejfer bar'' koji je povezan sa tim, kao i slici ''Scale from the tool'', i to razvijanjem ove ideje kroz radove tipa: životinja - biljka - mineral, iz ideje o simetriji i kružnom kretanju, tačnije, simetriji koja se upotpunjava kada umetnik uzme u ruke četkicu. Dalje razmišljanje u ovom pravcu dovelo je do ideje o jabuci u ustima svinje (zapravo, po tradiciji, se tu stavlja limun), ideje biljka - mineral – životinja – biljka, čime se upotpunjuje simetrija. Otkad znam za sebe sam, takođe, zapažao i nalazio lokalne znakove kraj puta, reklame za sveže poljoprivredne proizvode, znakove za benzinske pumpe, mesta gde se prodaje hrana, znakove protesta i druge znakove, nagomilavanje takvih znakova, greške u pisanju, neobičnu sintaksu, neobična skraćenja reči, gde je piscu/slikaru ponestalo prostora pa je nastavio u redu niže, u tome ja pronalazim divnu poeziju, stalno prefarbavanje znakova proizvodi divne efekte teksture korišćenjem dostupne podloge, boje, i tako dalje, takva podloga proizvodi divna zatamnjenja linija i obojene površine, čudesnu neposrednost sredstava i neopterećenost bojom koja se često gubi u takozvanoj visokoj umetnosti. Moj je rad, takođe, i snažno reagovanje na takozvanu teoriju o svesti o australijskom pejzažu, većina australijskih umetnika je iz gradsko-urbanog miljea, mene odbija neiskrenost ovog takozvanog (umetničkog) svojstva, taj povratak pejzažu, Bože blagi... Ja odbacujem ideju o Nacionalnoj Umetnosti, njihovi umetnički modeli (čak i oni koji dolaze preko Sjedinjenih Američkih Država) jesu evropski modeli, i takozvana sinteza australijskog pejzaža predstavlja slabljenje te tradicije/tog modela, a svakako ne njeno jačanje. Moj rad, takođe, predstavlja komentar na to koliko je, u velikom broju slučajeva, „tanka“ umetnost na kojoj su zasnovane reputacije umetnika u Australiji, kada se ukloni sintetička duhovnost, takozvana sociološko-kulturna svest, takozvani sistem kritičarske podrške, ne ostaje nam ništa.

Robert MekFerson

24. oktobar 1993.

Biografija

Robert MekFirson rođen je 1937. u Brisbejnu, Australija. Živi i radi u Brisbejnu. U skorije vreme učestvovao je na grupnim izložbama Das Liede von der Erde u Museum Fridericianum, Kasel, Nemačka, 2000. godine i na 13. Bijenalu u Sidneju, Australija i na 25. Bijenalu u Sao Paolu, Brazil 2002. U poslednjih nekoliko godina imao je nekoliko samostalnih izložbi u galeriji Yuill Crowley, Sidnej.