Hiroko Nakao, Untitled (Dolls)
Alex McDonald - Where the Wild Things Are
25 May 2005
Where the Wild Things Are is one of those rare children’s books that you can’t help but feel sentimental about. Kind of an Alice in Wonderland for preschoolers, it centred on a naughty little boy named Max who wore a funny white cat suit and fantasized about scary monsters that he would later befriend. This simple tale of childhood fantasy is a useful launching pad for an art exhibition, if for no other reason because it triggers childhood memories, and has you reminiscing even before you step foot in the UTS gallery.
The clearest references to Maurice Sendak’s book come from Scottish artist Simon MacEwan, whose Raised by Wolves series of finely wrought, variously shaped watercolours show a cat-eared youngster intermingling with owls, bats, snakes, spiders, rabbits and wolves. In one rather conspicuous image, MacEwan’s Max is shown biting into the flesh of a rabbit, creating a scene that would definitely upset small children. Another painting shows the bloodstained snow, further implicating Max’s grim act and uncovering the sometimes thin line between having a healthy imagination and downright viciousness.
A series of Hany Armanious’ works from the late 1990s extends the fantasy theme with paintings of bearded elves rendered on Styrofoam and bubbly wallpaper. The Wood (1998) shows a sleeping giant with a blue-haired imp hovering above his shoulders. These mythic figures appear distorted because the Styrofoam has warped, giving the images a raised, deeply textured surface. The story goes that during a residency in France in 1998, Armanious began to see curious figures emerging from the cheap wallpaper in his Hautvillers apartment, inspiring him to resume figurative painting.
Though a little gimmicky, Armanious’ Shit and space (2003) is a clever artwork that has a similarly mind-warping effect. As part of the installation, the viewer is instructed to stare into the centre of a round, revolving board. After a few seconds of near hypnosis, we’re instructed to look up at a reproduction of Munch’s most famous picture, The Scream that has been placed behind the spinning wheel. The effect is one of visual distortion, and as our eyes attempt to readjust, Munch’s painting morphs outwards. Rounding out the picture are Armanious’ oversized, though otherwise completely life-like, muffins. The various flavours – blueberry, chocolate and white chocolate chip – were created using expanding foam and look entirely edible.
In the centre of the space, Louise Weaver has produced an intricate, moonlit stage. Reclining on the thick, black rug are two animals, a mink and a bobcat created from crocheted cotton and adorned with Ziggy Stardust-style lightning flashes. Weaver’s second, Sooty Owl piece is considerably smaller and sits subtly at the back of the gallery.
Japanese artist Hiroko Nakao’s Untitled (Dolls) is one of the most delicate and compelling pieces in the exhibition. A wire rack extends across the window-side of the gallery, holding dozens of embroidered dolls made from canvas, with gerberas for heads. Suspended on mini-coat hangers, Nakao has designed a line of Haute Couture that would sit happily in one of Hayao Miyazaki’s films.
Although several of the works within Where the Wild Things Are have been shown at other Sydney galleries over the past few years, UTS Gallery Curator Tara D'Cruz Noble has a good eye for pithy contemporary artworks. This a small, but important exhibition that is well worth a look.
More Information
Where the Wild Things Are
Until 17 June
UTS Gallery, 702 Harris St, Ultimo
Details: (02) 9514 1652
Website: http://www.utsgallery.uts.edu.au/
