with the Gallery’s permanent collection of Australian art.
The highlights?
Downstairs, Tim Silver’s self-portrait — a cast sculpture — is a half-chilling, half-warming depiction of decay and demise: the sculpture’s lifespan will mirror that of the exhibition. Marco Fusinato’s Imperical Distortion is a large, immersive installation that, triggered by your clap, showers you with neon lights presenting startling statistics estranged from their subject.In the Elder Wing of Australian Art, I loved the idea of interspersing the strikingly contemporary biennial works with the permanent collection of colonial landscapes, aboriginal artwork, and twentieth-century Australian paintings. Nicholas Folland’s installation is particularly hard to pass by without gaping — a suspended sculpture of 2000 cut glass decanters, bowls, and vases, it’s romantic and a little bit magical.
Nicholas Folland, Jump Up, 2012. Found crystal and glassware, stainless-steel wire, steel, timber. |
The whole exhibition has been carefully pulled together, and the darkened spaces downstairs are mysterious and contemporary. Parallel Collisions ends on 29 April.
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