Sunday, 24 September 2017

Tony Twigg

17 September - 14 October      Paint?

Tony Twigg. Two by two (left), Two (right). 2017. Enamel paint on wood.


The application of paint is a question. 
As works are made they accumulate a patina of corrected errors, revised decisions, and compromises of craftsmanship that become a history of process. In theory at least it is a truth of the work.


When a work is “re-made” from a previous work this is even more pronounced. An echo of the past lingers, shattered on the surface of the new. Truth again shimmers as a veil of history tempering a view of the new.


Paint, tracing like a blind man's finger reveals the object washed of its romantisised past. The truth of the fact revealed is an object and nothing more.  Consider the object in paint, balance it with tone, embellish it with color, make it beautiful and finish it with paint.

Two. 2017.

Beauty, is it truth? Could beauty conceal truth? Could there be truth either side of the paint? Would truth be the position between what was and what could be? And if it were, would it be painted? 



-Tony Twigg




Two by two. 2017






Saturday, 26 August 2017

Alfredo Aquilizan & Isabel Gaudinez-Aquilizan

 20 August - 16 September      Passage, Another Country, 2017


The art of the Filipino-Australian artists Alfredo and Isabel Aquilizan is a traveler's tale, be that of the immigrant or the nomad. They have considered what is left behind, what is carried with the travelers on their journey and they have mined their own families’ migration to Australia as the subject and the substance of their art. 

Alfredo & Isabel Aquilizan. Passage, Another Country, 2017. Cardboard construction with photographs of horizons.

They began working with their chosen medium, the travelers' discarded cardboard carton in a Sherman Contemporary Art Foundation project of 2012, “Inhabit another country”. This installation was an extrapolation of the homes built along the shoreline of Mindanao by the Bajau, the gypsies of the Sulu Sea. These encrustations are but one aspect of a broader architecture of poverty that has become a subject of Filipino Art and it imbued with an innate humanity. In recent museum scaled installations the Aquilizans have romanticized these necessities of habitation as boats, the travelers' vehicle and the nomads' home. 

The boat is an image with a deep resonance in Australian cultural psyche. From the armadas of convict ships in our mythic past to the fishing boats that ferried contemporary migrants euphemistically described as irregular maritime arrivals. Migration has defined Australia. The vast migrant ships assembled by the Aquilizans have also become an apparent destination in themselves, hinting at the darkest fate of the immigrant, a perpetual journey. 

The two shoe like walking boats exhibited here were made during the Aquilizans' recent residency at the Mosman Art Gallery that was part of the Bayanihan Philippine Art Project, a suite of exhibitions celebrating Filipino culture presented in various Sydney art galleries. And as in the Aqulizians' work, the Bayanihan Art Project addressed the migrants' central concerns of home, of be-longing and of utilitarian possessions reconfigured as cultural artifacts. 

- Tony Twigg, 2017

Tuesday, 18 July 2017

William Gaudinez & Valentine Brown

July 16 - August 19   Romancing the Colony

The installation titled, Romancing the Colony is Slot’s response to the Bayanihan Philippine Art Project at AGNSW, a series of exhibitions across Sydney galleries focusing on Filipino art practices. Here William Gaudinez and Valentine Brown offer romantic views of colonization in their respective countries, the Philippines and Australia. 

Retablo by William Gaudinez, Painting on wood by Valentine Brown, 'prayer book' by William Gaudinez, painting on wood by Valentine Brown [left to right].

The Filipino artist, William Gaudinez works within the votive Retablo form of the Spanish who’s period as the archipelago’s colonizer is bookended by the subject matter of his two works.  

'Retablo' by William Gaudinez. Painting on wood.
He illustrates the period before the Spanish with the mythological sea voyage of the people to their land while the period following Spanish colonization is encapsulated in the coming of the Filipino Republic.  


He offers a perhaps romanticized reading of colonization stretching from the mythic Bayanihan past of shared work to a present day amalgamation  of parts as series of purposeful and scarred interventions.

Valentine Brown’s map of Australia is a folk art form that is also the colonialist’s view of the continent first drawn in entirety by Matthew Flinders and Boongaree in 1810.

Valentine Brown's colonial narrative on map of Australia
His paintings illustrate the poetry of Banjo Patterson and Henry Lawson who celebrated Australia’s 19th-century folk lore and in particular the battle between the old hand and the new chum fought out in Patterson’s poem Saltbush Bill.  Today the poem unintentionally reflects the position of both the Aboriginal and the refugee/immigrant with in the polyglot of pre-republic Australia. 

Today the poem unintentionally reflects the position of both the Aboriginal and the refugee/immigrant within the polyglot of pre-republic Australia. Through the agency of colonization our small exhibition links history to mythology in an articulation of the substantial connection we have with the place of our birth irrespective of racial identification.

In a second iteration of our response to the Bayanihan Philippine Art Project, Slot will present an exhibition of painting by the Filipino abstractionist, Melbourne Aquino.

Tony Twigg
Director, SLOT