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Sunday, 29 April 2012

2012 Adelaide Biennial Of Australian Art Exhibition-part three

Parallel Collisions –part three by Linh


Australian artist Jonathan Jones presents a segment of a Murray River Red Gum tree illuminated with electricity as part of the Parallel Collisions exhibition. The red gum tree lies flat on the floor and the electricity appears to give the lifeless tree a life force and a ghostly effect. Jones said the light “represents hope – the ability to illuminate being akin to the ability to elucidate the past.”

The tree is an interesting object to observe as it has many meanings attached to it religiously and spiritually. Trees also have a place in myths and legends as places or objects of worship, and particularly as a connection between humans and the heavens or with the Universe. In many ancient cultures, trees were considered as symbols of life, power, wisdom and fertility.

In biblical texts, there are two trees that come to mind – The Tree of Knowledge and The Tree Of Life; the former which bore the fruits that were forbidden to be eaten, and the latter represents immortality. In Buddhism, the Buddha was sitting under a Bodhi tree when he attained enlightenment.

My first thought was of the environment and the deforestation in developing countries, which clear forests to build homes for its growing population. Or in some cases, trees are chopped down for commercial purposes to make products for human consumption, leaving native animals without shelter or food. I think the light makes the fallen tree on the floor appear to be a spectre of a tree from the past, as if warning us to be more aware and considerate for the environment as there may be nothing left for future generations to enjoy or experience.


Illuminated Tree art installation by Jonathan Jones. Image: Linh Chameleon



Illuminated Tree art installation by Jonathan Jones. Image: Linh Chameleon



Illuminated Tree art installation by Jonathan Jones. Image: Linh Chameleon



2012 Adelaide Biennial of Australian Art Exhibition-part two

Parallel Collisions –part two by Linh


Australian artist Susan Jacobs presents a rectangular slab of bronze featuring snake drawings and a video accompanying the artwork which shows the drawing process as part of the Parallel Collisions exhibition. Jacobs experiments with snake drawing, whereby she handles live snakes as they slither and slide through sand. She then casts the snake drawings into bronze.

Jacobs said the snake drawings allow for “considerations of fear to be given material form”. As Jacobs handled the live snakes, she may have felt fearful they might attack her, and the snakes also sense some fear as they slide along the sand. It seemed like these imprints were made from different snakes as there are inconsistencies within the drawings. Some of the imprints look curved and others straight, some with more depth than others and they all vary in length.

One exhibition visitor remarked: “It would have been more interesting if this (bronze slab) had snakes in it.” I disagreed with this observation, as the mark of fear is more interesting if we do not know who or what has created it. Fear is unseen but can be felt/sensed and experienced by humans and animals alike, therefore to not know what made the marks of fear can itself spark some form fear in us.


Snake Drawing by Susan Jacobs. Image: Linh Chameleon



Snake Drawing by Susan Jacobs. Image: Linh Chameleon



Snake Drawing by Susan Jacobs. Image: Linh Chameleon



Snake Drawing video by Susan Jacobs. Image: Linh Chameleon



Snake Drawing video by Susan Jacobs. Image: Linh Chameleon

2012 Adelaide Biennial of Australian Art Exhibition-part one

Parallel Collisions -part one by Linh


I almost forgot about the Adelaide Biennial of Australian Art Exhibition called Parallel Collisions. Fortunately, I caught the final day of this exhibition. This exhibition showcases some of the best and bizarre works by Australian artists including paintings, photography, art installations, sculptures and audio/visual presentations. Parallel Collisions sounds contradictory but the artworks display both dischord and harmony unified as a whole. We are accustomed to seeing parallel lines that run side by side yet never meet, but in this exhibition, there are works that has the added dimension of time. This time factor enables things, that were once in a fixed place, to shift postions over time therefore causing a collision and gives new meanings to things over time.


Jump Up is a fascinating and very delicate artwork installation comprising of two thousand glass decanters, bowls, drinking glasses suspended by wires from the ceiling. From different angles, the installation can look like mountain ranges sparkling with icecaps or up-close it may appear like pieces of an intricately designed chandelier. This was designed by Nicholas Folland who was inspired by the idea of Atlantis, the lost mythical city that sunk deep into the ocean, when creating this artwork. He tried to capture the romance and intrigue of exploration, colonisation asscociated with the legend of Atlantis.


Artwork by Nicholas Folland. Image: Linh Chameleon



Artwork by Nicholas Folland. Image: Linh Chameleon



Artwork by Nicholas Folland. Image: Linh Chameleon



Artwork by Nicholas Folland. Image: Linh Chameleon