Melinda Schawel’s work is ambiguous in interpretation. On the one hand, her drifting images bring to mind the trajectory of stars, geography, mapping; on the other hand, a macro view of some organism, or even molecular structures.
Using scalpel, drill and sandpaper, she perforates, tears and roughs up the surface of heavyweight paper. Inks – mainly a neutral palette, with pops of vibrant colour – are poured and manipulated into abstract, organic shapes. Control is only possible up to a point, although she is aided, she says, by an “intimate knowledge of the materials”.
Many elements of Schawel’s practice are informed by observations from nature. The technique of perforation, for example, began after watching crabs on a beach in Queensland drilling holes into the sand. “It stems from moments of paying attention,” Schawel says of her pro- cess, “and translating those moments into work on paper.”
For the Higher Ground series, she has drawn on a phenomenon that occurred in Tasmania during recent floods. Struggling to escape the watery forest floor, millions of spiders cast their lines upwards with the hopes of reaching a treetop and launched blindly, en masse, into the air. Those successful dangled precariously above the floodwaters; trees were wrapped spectacularly in webs.
The poignant uncertainty of survival is echoed in these drawings, which are fragile and unanchored. Schawel describes her artistic response as “primarily an emotional one”, using her textured dreamlike compositions as a counterpoint to the present global atmosphere of rising tumult and fear. The paper’s tears and perforations point to damage but also resilience and a vulnerable beauty. Among a million clamouring images, Schawel’s work is a moment of respite, a small breath.
Higher Ground II
Melinda Schawel
Hill Smith Gallery
6 – 27 May
65,000 Years: A Short History of Australian Art is an extraordinary account of the unique art of this continent, published alongside a landmark exhibition at the Potter Museum of Art. Necessary and urgent, it tells the story of Indigenous Australian art; a new art history unlike anything we’ve seen. For Jane O’Sullivan, it’s a remarkable and must-read book.
In a new series of illustrated postcards available as a free gift with purchase only at the Art Guide Bookstore, Oslo Davis takes on classic and contemporary art terms and genres and reimagines what they could be referring to.
With so much to choose from, we’ve rounded up the major summer exhibitions in each capital city, open all summer long. Spanning Yayoi Kusama, Magritte, the Asia Pacific Triennial of Contemporary Art, and many more.
In two new exhibitions at the Art Gallery of New South Wales, René Magritte and Cao Fei speak to each other across cultures and eras about the way that perception can unsettle reality—and the places the real intersects with the surreal.
Ahead of the National Gallery of Victoria’s major retrospective on singular Japanese artist Yayoi Kusama, we invited four artists to respond to the influence of Kusama on their own practice—and meditate on what her work means to them.
Melbourne-born figurative artist and ceramicist Rob McHaffie takes a global view of human idiosyncrasy. His biggest exhibition to date, now showing at Bendigo Art Gallery, covers over a decade of his painting practice.
