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ARCHIVE


24 NOVEMBER - 5 DECEMBER 2004


GALLERY
untitled
Peter Holm, Karin Lind


MOP Projects is proud to present the Danish artists Peter Holm and Karin Lind. As they have visited Australia very few times, some may be unfamiliar with Holm and Lind's highly distinctive works, which vary in scope and aesthetic sensibility from small paintings and object works to ambitious photographic and architectural projects.

Lind's installations, model-sizes, drawings, and photo-series are generally about spatial matters. Using a minimum of expression, she balances her art between the recognisable and the abstract. Her focus is on surroundings and how these are materialised through perception. For instance, "...it is the idea of framework that is characterized rather than substance". As such, notions of 'time' and 'movement' are dealt with, as the artist claims, "...like floating facts, where structures become like states of being". For MOP Projects Lind has made a site-specific sculptural piece, and shows drawings from a new series, Behaviour Pattern, recently exhibited at Kunsthalle Fridericianum, Germany.

Holm produces another interesting body of work that has been expressed within a variety of approaches - from a painted 'car door' series to lacquered paintings, objects and installations. For the artist, "painting is, amongst other concerns, often about clarifying aspects of volume and contrast". Further, and keeping in mind that the pure minimal movement may, "...leave you stone cold" as he puts it, "...the intent of the content should behold a complexity beyond mere presence". In extending colour and matter as he does, within a widening of physical considerations, Holm simply asks the spectator "...to participate, to experience the work". At MOP Projects, Holm presents an installation.

Billy Gruner / Penny Craswell (eds)

Supported by The Danish Arts Council / The Committee for International Visual Art

Image above: Peter Holm






PROJECT ROOM
Radical Paintings
Billy Gruner


In the aftermath of any art making, even through the realisation of an austere form, some things remain consistent; like expression. This may be a generic response, at once personal; it may be reductive and far from what is thought to be contemporary, especially when a literalising of realism is sustained as the only plausible trope. However, through a consideration of evidentiary marking processes iterated neither as realist or abstract per se, it is not impossible to think that a simple fabulation may provide some resistance to aesthetic conventionality.

Image above: Billy Gruner

Karin Lind






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