ANTHOLOGY OF ABSURDITY

ANTHOLOGY OF ABSURDITY

A long corridor, cubicles springing off it with various art galleries, and a slow enter into the Janet Clayton Gallery, already mesmerised by the peeking glimpses of eclectic art works on display. Then, alarmingly, for the next few moments, viewers are stunned and awed by what they see: distressed distortions of faces in a dark reality. Gradually, once they get to know the story behind them, they realise there is more than what simply meets the eye.

“A willow deeply scarred, somebody’s broken heart; And a washed-out dream… That’s why I’m starting with me, I’m starting with the man in the mirror, I’m asking him to change his ways…”, Michael Jackson’s iconic song was the first analogy that comes to mind as one begins to ponder over this interestingly titled exhibition of mixed-media portraits and sculptures, the Anthology Of Absurdity.

The question that the exhibition seems to ask is, when you look in the mirror, what and who do you see? Is it an image that is truthful to the core, or is it a mask that is hiding some sinister thought, or a cruel intention, a crooked smile, or a warm glow of self-righteousness?

The exhibit seems to explore the darkness, yet praise the beauty of what exists as a mere façade, and brings to the fore an almost farcical but startlingly truthful reality, one that very much exists in our society, but people by-and-large have a disregard to. Society may refuse to accept the presence of this other realm, but it’s within them everyday. It’s this quest to know, to de-construct, to dissect and to rebuild the self that Suzanne Archer’s art delves upon.

Defying norms, by mastering the art of exploring the Self, Suzanne continues to challenge herself by “investigating the theme of Self both two & three dimensionally.”

Jessica Holburn, from the Janet Clayton Gallery perfectly summarises Suzanne’s work’s themes to be that “of life, death, ritualism, abjection, embodiment, subjectivity and a startling objectification of her own image,” and it is true. It takes more than a mere look, in fact a strong scrutiny of the color palettes, the way the faces and their varied meanings unfold to realise that one’s journey of exploring the self—the person behind the skin and the person on the skin—is highly intuitive and deep.

In defiance of social norms, personas and imagery, art lovers would be subjected to the realisation that the process behind her art is as interesting as her work itself. Explains Archer, “My work practice is a combination of lots of varied reading, collecting images from all kinds of sources, collecting objects from all kinds of situations from walking in the bush to visiting second-hand shops,” and her work reflects this devotion to the task.

Her art crosses borders, some pieces in this exhibition are in strikingly rich golden, red and black colours. The increased use of gold has been a by-product of her visit to China. Archer elaborates, “China was a whole new experience for me and having the opportunity to participate in the exhibition From Paper was the motivation to travel to Beijing for the opening. I found the whole experience incredibly exciting and visually richly varied, from images of everyday – life, food etc. – to the extraordinary Chinese warriors in Xi’an.”

It is indeed a learning experience as her work provides for the society to question who they are, and more importantly what they portray themselves as. As Archer is continued to be “moved more by disturbing images, edgy subject matter that challenges and promotes a questioning and unease in the viewer, rather than something that offers a known and well tried subject,” and her quest to explore the hidden unknown depths of an inner self continues. It’s time to go and soak yourself into the world of this absurd, dark, sinister, but enlightening world of Archer’s art. (JR)

Until Jun 29, Janet Clayton Gallery, 2 Danks Street, Waterloo, Free, (02) 9698 8443, janetclaytongallery.com.au

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