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painting with a twist melbourne
The exhibition, blue-blooded Stephen Bush: Steenhuffel, follows Bush’s accolade as the fourth almsman of the $30,000 Vizard Foundation Abreast Artisan Project grant, which enables the called mid-career artisan to accompany new admonition in their convenance and accomplish new work.
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Bush can be declared as a allegorical painter who borrows from actual mural painting conventions and 19th aeon photography and again dismantles those traditions by juxtaposing kitsch and aloof elements with adventitious furnishings such as bouncing pools of acerb coloured paint.
His works are generally busy with beekeepers, acreage equipment, debris bins, aerial scenes, men on horseback, and portrayals of Babar the elephant.
Bush is additionally accepted for again application self-imposed ambit in his painting practice, such as limitations on his colour palette to aloof red or blooming and, as appear in one arcade amplitude in this exhibition, purple.
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Exhibition Curator and Director of the Potter, Kelly Gellatly, says she likens Bush’s painting convenance to that of a abreast artisan – remixing and reusing the motifs and accountable amount that accept reverberated beyond his assignment for several decades, blame and re-invigorating both the convenance and art of painting itself.
“Bush’s bulk is tantalisingly antic and abashing in its embrace of circularity and repetition, and never ceases to abruptness in its artistic re-use of an all-embracing aback archive of accountable amount and motifs.
“At the affection of Stephen Bush’s convenance is the constant, about acrimonious catechism of what it agency to be an artisan and particularly, what it agency to assignment in the best anachronistic of mediums – paint,” Ms Gellatly says.
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Liza Statton, columnist of the archive article titled, Stephen Bush: Unconditional reinvention, summarises by writing: “Though acutely analytical and incongruous, such an array of interests reveals a allure with the ordinary, antipathy for the angle of progress, and a appearance that paintings are complete things that catechism both the subjectivity of the artisan and the viewer.”
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The exhibition will accommodate a ample apartment of new works on cardboard featuring a new theme, ‘chicken coops’, several new paintings, and called beforehand works from the accomplished three decades, alongside an appropriate alignment of works called by Bush from the University of Melbourne Art Collection, including a 19th aeon bite by S T Gill, a gouache of a snow hut by Melbourne-based artist Lloyd Orton, a Gould book and an aberrant accumulating of ink on copse paintings – absolute Bush’s amusing and aweless sensibilities.
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Stephen Bush: Steenhuffel, runs at the Ian Potter Museum of Art until 6 July.
www.art-museum.unimelb.edu.au
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