Victoria Reichelt | Future Ruins
Victoria Reichelt has a nifty way of revealing beauty within seemingly lacklustre everyday scenes that the ordinary observer would glaze over.
In her latest exhibition Future Ruins, Reichelt turns her hand at visualising modern ruins set within a contemporary context.
Exploring the deserted archives of libraries and institutions, Reichelt’s paintings reconceptualise our understanding of a ruin – a remnant and repository of past knowledge – which most of us would associate with the historic buildings of Rome or Greece.
In this case Reichelt responds to the increasing digitalisation of library and archives, transformed into uniformed hubs of new media. Future Ruins reveals the silent, industrial back rooms of media hubs as the dull modern ruins of the future – a stark contrast to the romantic allusions of crumbling walled ruins and statues.
Taking the viewer on an archaeological style look back into the future, Reichelt’s paintings explore empty corridors,close up shots of abandoned library catalogue cards, and bundles of paper bound loosely by ribbon.
Even with this desolate gaze towards the future, there is an enticing pull to these works that can’t be denied. Reichelt’s practice adheres to a technique of photorealism so impressively executed that it requires at least a second closer glance (or more) to confirm it isn’t a photograph.
Drawing the eye in, the works reveal spaces with filled with repetition, monotone colour and patterns that rhythmically pulse in the artificial light. With a clever eye for colour and pattern, Reichelt focuses on a motif within each work – a lurid colour or endless pattern – that in the artist’s light make the assumed monotonous archival subject seem one of a kind.
So to be excited or disappointed for the future? Head along to Jan Murphy Gallery to see these entrancing studies of the new ruins – tangible remnants of human creativity and thought – left over from the modern world.
However seeing them painted from Reichelt’s perspective, there is something about the future that doesn’t look so bleak.
EXHIBITION
Future Ruins
Until 31 October 2015
Jan Murphy Gallery
Courtesy the artist and Jan Murphy Gallery
Senior Pitjantjatjara artist, Tuppy Ngintja Goodwin, was born in 1952 near Bumbali Creek in the Northern Territory, close to the border with South Australia; daughter...
For those of us who seek out unfamiliar voices and see the potential for diverse cultures to create new meanings and memories in a postcolonial...
Show me the beauty of a body contorted by thrall. Then, show me the thrall. Shame is a vast word. The...
Kon Gouriotis: How did you come to be working with the Yinhawangka community? Pedram Khosronejad: My journey to working with the Yinhawangka community has...
The Art Gallery of South Australia’s (AGSA) Adelaide Biennial of Australian Art has seen real competition over the past two decades, as other institutions have...
Michael Vale views colonialism as the elephant in the room when it comes to Australian history and Australian art. He observes that through a strange...
(for Michael Petchkovsky) You passed so quickly, it pulled the oxygen out of the air Drawing sorrow in behind you, like a myst Burning...
While most of Hobart is asleep, Maggie May Jeffries is crawling around in her backyard nasturtiums with a torch, finding inspiration in the intricate details...
i make it so that that every place i live is my home so i put my bed on the wall closest...