Artwrite

By Amelie Frederiksen

Although there are distinctions between the art of modernism and the art of today, when it comes to exploring and highlighting these differences it becomes rather complicated. To do so, it is important to first define modernism, and even more difficult; classify contemporary art. It seems to me to be a rather impossible, and somewhat pointless task.

Therefore it was with some scepticism, but also a healthy sense of curiosity, that I travelled to Penrith Regional Gallery to view New Acquisition in Context. An exhibition that claimed to provide a platform for contemporary works to be viewed alongside earlier generations, especially artists associated with modernism.

Going there I had to face my fear of this being just another ‘look-at-the-similarities’ exhibition. Admittedly my concerns were soon forgotten after seeing the gallery’s very impressive collection.

Harmonious explosion in neon

New Acquisitions in Context is a collection of recently acquired contemporary art works by Brook Andrew, Christopher Dean, Destiny Deacon & Virginia Frazer, Jon Plapp and Justene Williams. The works feature alongside selected works from the Gallery’s own collection including works by Harold Abbott, Frank Hinder, Margo Lewers, Elwyn Lynn and Peter Upward. The works are exhibited in three rooms, each with a different focus revolving around one of the older artworks.

In the first room the viewer is confronted with an explosion of geometrical forms and neon colours. An abundance of sunlight is coming through the great glass wall in the back, throwing grid-like patterns on the floor – beautifully imitating the geometrical shapes and rectangular compositions recurring in Jon Plapp’s works, and in Margo Lewer’s plexiglass sculptures from the 1970s.

In this case, the room itself has become the artwork, a big neon installation. Even the green exit sign appears as part of the concept, and the black compositional framework of the glass wall doesn’t seem coincidental. It all goes hand in hand. It’s fascinating and beautiful!

What holds it all together is Justene Williams’ giant floor sculpture Super Concentrated Dream Fever, which is a response to – and reflection upon – Margo Lewers’ plexiglass works. The layout of Williams’ floor installation also makes reference to Lewer’s mosaic work around the gallery site.

Back to boring reality

After the ‘happy neon galaxy’ in the first room, the next room returns to a ‘real life back to nature boring experience’. It’s not that Brook Andrew’s photos of birds weren’t worthy of note and the Aboriginal pukanami pole could, under other circumstances, have caught my attention, but after visiting another more colourful and lively planet, life on earth just seems rather boring.