Judith G. Klausner, 'Oreo Cameo #9', oreo sandwich cookie, 2011
Can’t afford an expensive cameo? Take a leaf out of American artist Judith G. Klausner‘s book and make your own, out of….Oreos. When she’s not fiddling with creamy centres, Klausner likes to crotchet bits of toast, crucify bees and make wallpaper designs out of ketchup and other sauces (below).
Judith G. Klausner, 'Condiment Wallpaper #1', 2011
But for confection-based wallpaper you can’t go past Brisbane artist Elizabeth Willing, who arranges sweets into elaborate William Morris-style configurations, photographs them, then posts them up on walls – a durable, fragrance-free alternative to Klausner’s mustard, jam and barbeque sauce concoctions…
Elizabeth Willing, 'Lodden', 2009
Kohei Yoshiyuki, 'Untitled', from the series 'The Park', 1973
Kohei Yoshiyuki, The Park, opens at the Institute of Modern Art, Brisbane, on July 2nd.
Ngipi Ward, 'Nissan', 2007
Whilst looking at indigenous artist Ngipi Ward’s painted car bonnet at GOMA, Leg of Lamb couldn’t help but think of Rohan Wealleans. There is a curious kinship in the artists’ layering and excising of paint, that reveals the accumulation of colours beneath. Rohan’s had a go at painting a bonnet too, earlier this year he created A thick cream (below) for a Kidz First charity raffle in Auckland.
Rohan Wealleans, 'A thick cream', 2011
'Defeated Serf', 2010
'Woman with Shoulderbag on Base with Jerusalem Stone', 2011
'Woman with Poncho', 2011
The works above are included in Linda Marrinon, Figure Sculpture 2011 at Roslyn Oxley9 Gallery, Sydney, until July 9th
Juan Davila, 'After Image, A Man Renounces Love', oil on canvas, 200 x 280 cm, 2010
Last weekend Leg of Lamb caught the final day of ‘The Moral Meaning of Wilderness’, an exhibition of recent large-scale works by Juan Davila at the Griffith University Art Gallery in Brisbane. Shifting between figuration and abstraction, Davila revisits the techniques of plein air painting, depicting the Australian landscape in quickly executed pastel colours. Works like After Image, A Man Renounces Love (above) contain swirling, organic forms that recall the automatism of Gorky, amongst others, fused with a pop-like candy-coloured sensibility. In contrast, paintings like Arthur Street (below) are intentionally anticlimactic, despite their heroic scale. Here, Davila paints the land with soft, feathery strokes that disintegrate into absolute nothingness. By subverting the conventions of landscape painting, Davila problematises traditional notions of the sublime. Instead, his work examines our current state of ecological crisis and Australia’s complex relationship with the land.
Juan Davila, 'Albert Street', oil on canvas, 85 x 235 cm, 2007
The Moral Meaning of Wilderness will travel to MUMA in Melbourne later this year.
Greta Anderson, 'Jamie' from the series 'The Stand-Ins'