Bateson’s practice and experience provides him with an extraordinary repertoire of techniques and processes that he manipulates to create the subtle, beautifully inflected and resonant surfaces of his works. His art is one that invites contemplation and the sensual enjoyment of the concrete materiality of the work itself. Each, be they works on paper or canvas, structured from ink or paint, in all their inventiveness and rich variety, demand close scrutiny and always repay the viewer with visual pleasure and new insights into the act of looking.
‘ART is not sport’ – said Degas, disdainfully, to the son of one of his best friends who insisted on tramping around the countryside, easel and paintbox at the ready, intent on capturing and subjugating the landscape, like a hunter, in colour and form on canvas.
GOING to London? Great. Art is a must-see for the traveler to the heart of the new capitol of nearly-but-not-quite Europe. The biggies include the National Gallery in Trafalgar Square, the National Portrait Gallery just around the corner, Tate Britain at Millbank and the Tate Modern on Southwark and the summer show at the Royal Academy. But there’s more! Much, much more.
What you see is not always what you get- and sometimes what you create for yourself can have wider meaning and deeper influence and importance.
NESTLED in the under-story of the old convent in Abbotsford’s art precinct on the Yarra, c3 Contemporary Art Space has been a showcase for emerging artists for more than eight years. Currently, six artists are on show, presenting a veritable cornucopia – different ideas, views thoughts and interests. Culture, place, history and experience, provide a wealth of opportunity for artistic expression.
IN SIX weeks, the National Gallery of Victoria International opens its latest Winter Masterpieces exhibition, Degas, a New Vision. Works have been drawn from collections across the globe and, in the words of the NGVI’s press office, offer a ‘fresh and dynamic reappraisal of this legendary artist’s genius.’
A lot is riding on whether the work is genuine, including professional reputations, art world cred and of course, lots of money. But before the experts get busy, I’d recommend those charged with the responsibility of saving reputation and generating income just take another, good, long look at the thing, first. Why? ‘Something’, as Miss Clavel was oft to say, ‘is not quite right’.
Sinclair’s pictures let you know that there’s more that you don’t know and that those hidden and mysterious unknowns might surprise – even shock – you.