Linton Meagher - That's Grouse. The British Show
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Transcript of Linton Meagher - That's Grouse. The British Show
LINTON MEAGHER THAT’S GROUSE! THE BRITISH SHOW
PRESENTS
LINTON MEAGHER
THAT’S GROUSE! THE BRITISH SHOW
An Exhibition of Cross-‐media Sculptures
May 22-‐27th 2012
Gallery 8
8 Duke Street St James’s
London SW1Y 6BN
www.comodaa.com
LINTON MEAGHER Sydney-‐born artist Linton Meagher’s work explores the ways that various disparate objects can be taken out of their usual context and presented in a way that challenges the viewer to question their wider meaning in society. Repellent objects, such as shotgun cartridges, bullets or surgical scalpels, become objects of beauty. The repetition of these objects allows for the creation of images that are often at odds with the meaning of the original object. Meagher’s work has evolved from traditional oil on canvas works to semi-‐sculptural, mixed media works using resin and Perspex. The viewer can see through the clear Perspex backing of the works to the wall behind, which gives the impression that the objects are floating in space and allows for a delicate play of light and shadow on the artwork. By casting mass-‐produced items in resin, such as lipsticks, his work continues the exploration of consumerism and the impermanence of time by earlier artists, such as Arman. Meagher’s inclusion in the 2011 Young Guns exhibition in London included a work made from thousands of still-‐ticking waterproof watches cast in resin, each one stopping randomly therefore evolving the artwork. Meagher completed a BA degree in Fine Arts at The University of Sydney and further studies at the renowned Julian Ashton School of Art, Sydney, although his training in medicine and subsequent Masters of Neuropsychology provided further inspiration for his art. He has had several successful solo and group exhibitions since 2005 in both Australia and Hong Kong. His work is in many private collections internationally and corporate commissions include pieces for Blackmores and The World Health Organisation. “That’s Grouse!” is a colloquial Australian expression that refers to something being really great or fantastic. The exhibition is also titled “The British Show”, since British cultural traditions and iconography are a key focus of the exhibition. For example, the tradition of shooting is explored using shotgun cartridges and pellets. An additional focus in the show is on contemporary issues that are equally relevant in Australia, such as gun control and the influence of the US on gang culture. Finally, the show references British pop cultural images, the impermanence of beauty and society’s pre-‐occupation with icons of beauty, such as Kate Moss. Discussion of the Grouse and Pheasant works These works are playful and visually striking. Hundreds of shotgun cartridges and shotgun pellets are all cast in resin. However, beyond the mere aesthetic appeal, these works force the viewer to reflect on the tradition of the shoot: it’s meaning in contemporary society and its role in defining social status. Are younger generations clinging tighter to traditions in the face of anxiety about the rapid change to the status quo in Europe? The grouse and pheasant works are also a modern reflection on the practice of taxidermy. As Meagher explains: “Taxidermists strive to cover up the means and act of death, traditionally portraying the pheasant looking shiny and attractive at the height of its beauty. With the shotgun cartridge works, the beauty of the works initially seduces the viewer. Like the feathers on a stuffed trophy pheasant, the shells are shiny and glisten in the light. However, it is hard to look past the act of death implied by all the empty cartridges. Some of the cartridges are coloured by gunpowder and dirt from the field. Hence, the viewer is prompted to wonder as to what animal or object was shot with these cartridges.”
Discussion of the Bullet works The titles of the bullet gun works come from the song ‘Miuzi Weighs A Ton’ by Public Enemy (1999). In this song, the Uzi becomes a metaphor for the power of rap to communicate. To quote the song: “Accused of assault -‐ a 1st degree crime, Cause I beat competitors with my rhyme, Tongue whipped, pushed, shoved and tripped…” The Uzi artworks, made from thousands of empty bullet casings are also more than simply a depiction of a weapon. The Uzi is a metaphor for power and notoriety. The Uzi has become almost something of an accessory in some sub-‐cultures. In the same way that the lipstick works project the feminine, the Uzi projects masculinity and one-‐upmanship in the face of the forces of gun control. Regarding the use of the bullet casings, Meagher explains: “Individually, these bullet casings are cold and repellent, but when thousands are collectively arranged and cast in resin they become objects of beauty. The bullet shells when viewed from afar confront the viewer with a shimmering sea of gold that lends these works a rich Rococo feel”. Discussion of the Lipstick works These works are made from thousands of imitation lipsticks cast in resin. The lipsticks are all screwed out to different heights, thereby making up the shape of lips when the work is viewed from the side. These lipstick works reference iconic and very British pop cultural images, bringing to mind the Rolling Stones as well as defining moments in gender politics throughout the evolution of lipstick. In fact, in 1770 a British law was proposed to the Parliament that a marriage should be annulled if the woman wore cosmetics before her wedding day! The lipsticks laid out en masse force the viewer to ponder the forces of consumerism and our obsession with the ideal of beauty – an ideal that can often only be achieved, at considerable cost, by altering or enhancing the natural colour of the lips. Discussion of the Surgical Scalpel works Meagher has been an artist longer than he has been a doctor, but he draws inspiration from his medical pursuits as building blocks for his art. His semi-‐sculptural mosaic works explore the way that objects, such as surgical scalpels, can be taken out of their usual context and presented in a way that challenges the viewer to question their wider meaning in society. For example, images of classical nudes created from thousands of surgical scalpels draw attention to the role of plastic surgery in the ‘creation’ of beauty in the modern world. “What I am exploring in these art works are notions of beauty and the role of medicine and the health care industry in augmenting appearances and defining notions of perfection” Meagher said. “I was intrigued by the cold and clinical forms of the scalpels and pills that I saw everyday at the hospital and I wondered how they would look when shown in a completely different context. The pills and the scalpels are quite repellent individually but, collectively, they can be transformed into objects of beauty”. These works are literally painstaking and can take months to complete. However, it is the dynamic and flowing nature of the images that contrasts with the painstaking nature of their creation that makes them so intriguing.
Last Drive of the Day 1, 2012 Shotgun cartridges, pellets, resin, Perspex 120 x 92cm
Last Drive of the Day 2, 2012 Shotgun cartridges, pellets, resin, Perspex 120 x 92cm
The Glorious Twelfth, 2012 Shotgun cartridges, pellets, resin, Perspex 126 x 62cm
Driven, 2012 Oil on empty bullet casings, resin, Perspex 112 x 70cm
The Famous Grouse 1, 2012 Shotgun cartridges, pellets, resin, Perspex 122 x 99cm
The Famous Grouse 2, 2012 Shotgun cartridges, pellets, resin, Perspex 122 x 99cm
Just Out of the Pool, 2012 Oil on surgical scalpel blades, resin, Perspex 64 x 82cm
Kate (after B.Adams), 2012 Oil on surgical scalpel blades, resin, Perspex 64 x 82cm
One That Got Away, 2012 Shotgun cartridges, pellets, resin, Perspex 115 x 88cm
A Fine Pair of Over & Unders, 2012 Shotgun cartridges, bullet casings, resin Perspex 115 x 15cm
My Uzi Weighs a Tonne 1, 2012 Empty bullet casings, resin, Perspex 115 x 96cm
My Uzi Weighs a Tonne 2, 2012 Empty bullet casings, resin, Perspex 115 x 96cm
Baton Rouge, 2012 Imitation lipsticks, resin, Perspex 115 x 62cm
Luscious, 2012 Imitation lipsticks, resin, Perspex 110 x 75cm
Femme Fatale, 2012 Imitation lipsticks, resin, Perspex 107 x 75cm
Linton Meagher: Biography
Born in Sydney in 1975. Currently lives and works in Sydney, Australia. Art education and training Linton Meagher studied art at the Julian Ashton School, Sydney, and at the University of Sydney,
completing a Bachelor of Arts, majoring in Fine Arts, in 1996.
Solo exhibitions 2012 That’s Grouse: The British Show. COMODAA Gallery, London
2011 Luminescence. Maunsell Wickes at Barry Stern Galleries, Sydney
2009 Countdown. The Cat Street Gallery, Hong Kong
2009 Taubman: Hong Kong Luxury Fashion Week.
2008 Resinate. Maunsell Wickes at Barry Stern Galleries, Sydney
2005 Encapsulations. The Blank_Space gallery, Sydney
Group exhibitions 2011 -‐ Young Guns Summer show. COMODAA, London
2011 -‐ “Wattle”, The Space, Hong Kong
2010 -‐ Singapore Art Fair (The Cat Street Gallery)
2010 -‐ Hong Kong Art Fair (The Cat Street Gallery)
2009 -‐ The Cat Street Gallery, Hong Kong
2009 -‐ Maunsell Wickes at Barry Stern Galleries, Sydney
2008 -‐ Maunsell Wickes at Barry Stern Galleries, Sydney
2007 -‐ Maunsell Wickes at Barry Stern Galleries, Sydney
1999 -‐ Ten Young Artists. Sheraton On The Park Hotel Exhibition, Sydney
1998 -‐ Ten Young Artists. Sheraton On The Park Hotel Exhibition, Sydney
1997 -‐ Global Arts Factory, Sydney
1995 -‐ Tin Sheds Gallery, Sydney
Commissions 2009 – Blackmores, Sydney Corporate collections The World Health Organisation
Blackmores, Sydney
Xenos, Sydney
T. & C. Business Consulting, Sydney
Private collections Meagher’s work is held in numerous private collections throughout Australia, Hong Kong, Paris and
London.
Reviews/ Publications -‐ “Wattle: Australian Contemporary Art”. 2011. Catalogue and essay by Kate Bryan
-‐ Room2Room Magazine: “Art & About: Australia’s most up and coming artists” by Mitchell Oakley.
2008, p.9
-‐ Time Out (Sydney): “Cutting edge art slashes out” -‐ Profile by Nick Dent. 2008, Issue 40, August 13-‐
19, p45
-‐ Australian Art Review 2008
-‐ Sydney Morning Herald. “Pain killing art” by Samantha Selinger-‐Morris. 19/7/2005
ABOUT COMODAA
Launched in early 2009, COMODAA (Contemporary Modern Australian Art) was established to promote and exhibit Australian art to a wider international audience and give talented contemporary artists new exposure. Our mission is to present and promote serious contemporary Australian art by a select, collectable and highly respected group of innovative artists. COMODAA is a privately owned independent art business that is not tied to any other gallery, dealer or auction house. This enables greater flexibility with a personal bespoke service on offer. Founder and Director of COMODAA, Jonathan White, moved to Australia in early 2001 and has lived in both Melbourne and Sydney. He has worked in the Australian art market for the past 10 years, as a gallery director, curator to exhibitions in Australia, Asia and Europe, and consultant, advising private and public collections including The Australian Museum and MCA (Museum of Contemporary Art). Through a regular exhibition schedule that started in September 2009 COMODAA will undertake various solo and group exhibitions in London and Europe to showcase and promote the current contemporary artists of Australia. As well as regular exhibitions and art fairs COMODAA’s primary home will be its website, www.comodaa.com . Visitors to the site are able to view artworks, find out about current & upcoming exhibitions and read the latest news on COMODAA artists. One of the main benefits of becoming a client of COMODAA is the bespoke advice on what and who to buy, whether it is for a collection or part of an investment portfolio. Advice is also available for art portfolio management. Clients of COMODAA can also obtain guidance on framing, shipping, valuations, cataloguing, conservation and restoration. Sourcing art is one of COMODAA’s main strengths, whether it is from Australia or other parts of the world. We have worked with private collections, interior designers, film and TV production companies and architects in the past, sourcing bespoke artworks for themselves and their clients. COMODAA has facilities in place to allow clients to purchase artworks by way of payment plans. COMODAA also has artworks available for use to Interior Designers and their projects.
GENEROUSLY SUPPORTED BY
THE ARBUTURIAN
CREDITS Editor: Jonathan White Design: COMODAA Printing: Print Express Corporate Photography: Provided by the artist Thank you to the supporters, my brother Toby, all the sub-‐editors and spell check. Lastly (not least), to Marisa for her continuous encouragement and support.
www.comodaa.com
www.comodaa.com