'Someday When the Sky Turns Black' brings together the work of Damian Dillon, Mike Roddy and Philip Wilson. These three artists employ the conventions of landscape photography to explore a psychological space whose quiet beauty belie the intimations of doom inherent in the cultural, economic and environmental flux of the 21st century. Damian Dillon's photomedia work looks at the Australian landscape and what lies within and around it. The work takes the form of a multi image serial narrative about 'Nowhere Australia', exploring the dark underbelly of small towns; a pervading sense of emptiness and loneliness that hint at longing and malaise. Mike Roddy's paintings are concerned with romance and fear or the romance of fear. They refer to a time before science sanitised the way we see the world. Drawing on his own cultural background, which is steeped in dark tales, myths and superstitions to create images that hover between something ominous and something beautiful. Roddy's art practice is similar to those of a photographer; indeed the work is shown in the context of what is a photographic exhibition. Thus presenting these landscapes as some kind of truth. 'Philip Wilson's work takes the viewer into the suburban wildernesses of North America. The bright, but frigid winter light delineates all forms and textures in this panorama of other people’s back yards. A fat Labrador dog seems to be the only living thing amongst this fascinating index of human habitation.' Craig Judd, writing on Philip Wilson's Highly Commended work 'Suburban Home #3' in the 2011 City of Hobart Art Prize.
Image Mike Rodd: 'There is nothing more dreaded by people,
nor considered more deadly in it's effects than the evil eye'
Having created works with adhesive contact and wire hangers, Alison McGregor explores and experiments with a common motive in the history of painting - transparency. In the exhibition Beyond Glass, the gallery walls of MOP are sites to investigate the phenomena of transparency. This study continues the rather eclectic practice of this artist. The motive of transparency in painting commonly features throughout scenes of windows, in reflections through mirrors, images cast in kaleidoscopes, and in translucent or opaque layers. Each of these forms experienced in Beyond Glass gives rationale to McGregor's desire to create.
Without resorting to the sole use of glass or plastic, McGregor engages the viewer by extending the notion of what a painting can do. Multicoloured strips of contact adhered over walls, an oil painting, and a sculpture made of the same contact are arranged in the gallery. The result is an ensemble of events that, through inference, suggest states of transparency beyond a diagrammatic literalness. Instead of being a bought object to be taken home, this painting is to be stepped within and immersed.
Image 'Beyond Glass' Alison McGregor, Installation at Studio