Page 94 - The MoMA/ Guggenheim issue of World of Art magazine (2001)

REVIEW OF EXHIBITIONS bY TAMARA PASZTOR
pool-beach culture. The photographic representations are viewed through virtual in conjunction with the head. The three-
images were taken from various public glasses whilst another panoramic scene is leaved palmette pattern shows plain arcs
swimming pools and beaches of Sydney projected onto a wide screen. and circles that is not unlike the stamped
and Melbourne (Australia). Raised near A synthesis of ordinary images emerges as pottery of the fifth century B.C. la Tene Celts
the Sydney Harbour, Sandy is now fantastical landscapes. (Eastern france) whose artistry trickled into
based in Toronto and has worked in the In this fashion, it Eire (Ireland) during this period by reason of
photographic documentary field for ten is greatly effective trade.
years in the Asia Pacific. Nicholson has upon the visual The Norman Castle Restoration Project
exhibited in the Centre for Contemporary pathway because is a marked historical event where a
Photography (Sydney), fotofeis festival subconsciousness is contemporary artist (Michael Killen) is
(Scotland), and the World Expo (lisbon, engaged here as well shaping a fresh pathway for futuristic artists,
Portugal). as seeing the objects where twenty-first art can still be combined
Other artists include: Craig Barber, Susan in their with antiquity.
Collett, Jim Cooke, Susan Dobson, Drew VIEWS Of THE COllECTIVE corresponding envrions.
Harris, Ken Nichol, Andre Paquin, John Pfhal, RETINAl MEMORY Consequently, the HORsEs, HORsEs, HORsEs
Slyvie Readman, Viz Saraby, Jaclyn Shoub. INSTAllATION activity is recorded SUSAN WEBB
upon a mental level. THE kENNY GALLERY
sT.CATHERINEs, fLA Partly transparent pictures construct the GALWAY, IRELAND
JILL BALLARD optical path where the retinal memory is Bequeathing an exclusive outlook on Irish
ANGELL GALLERY capable of maintaining and deciphering the Equestrian life, Susan Webb introduces
TORONTO, CANADA alternating illustrations. an enlightened view of the horse being
Place, experience, memory, recall, and Moreover, the rationale behind Benayoun’s placed within the
journey are a unique opportunity to institute work of art can be interpreted as being akin natural landscape
an amiable relationship with our planet. to the Alpha level, in which the brain is in a of the Emerald Isle
The set of the state of repose and watchful awareness. (Ireland). Interestingly,
photographs by the artist’s perception
Jill Ballard is of THE NORmAN CAsTLE of the horse hearkens
St.Catherines, Ontario REsTORATION PROJECT back to the eighteenth
and florida, USA. PART I and nineteenth century
At first glance, the MICHAEL kILLEN painters, for instance,
pictures appear SWORDS, IRELAND THE SANDPIT Theodore Gericault
to be authentic Imposing and stately as the dragonhead OIl ON CANVAS and Eugene Delacroix.
environs. Upon closer prows that once adorned the Gokstad 48” x 30” Horses Going To A fair
TRUCK examination, the vessels of sixth-century B.C. Germania, 2001 (Gericault) and Combat
COlOUR PHOTOGRAPH Of
SCAlE MODEl images are in fact the triple oak beams Of Giaour And Hassan
30” x 40” scale models. A toy designed by sculptor (Delacroix) are accurate depictions of the
2001 sleigh, plastic dolls, and Michael Killen for the magnificent animal illustrated in an actual
building blocks leap revival of the ruined setting. Here, the horses are portrayed with
out at the spectator. fourteenth-century strong emotion and concentration, as is the
Metamorphosizing into Norman castle (Swords, case with Webb.Then again, the artist states
a playground, nostalgia Ireland) radiates with that:“Through working with the Equestrian
is preserved through the Celtic-Germanic Society of Artists in England, I found that
the innocent eyes of artistic heritage. they actually discourage this way of working.
a child. VIEWS Of THE BEAM Each beam measures Preferring to see paintings which are more
Human beings always 6’ (183 CM ) 6’ (183 cm) and shall studies of the horses.”
want to control OAK intersect at the center. Susan Webb continues: “I left school at the
VIEW Of ANGEll GAllERY 2001
.JAMIE ANGEll nature. Still and all, There are six grotesque age of seventeen to begin full-time work as
DIRECTOR Of ANGEll to undertake the heads in total. an artist. I also bought a small thoroughbred
GAllERY expedition via the Suspended from the structural supports will horse. Flying Astro was his name, and
passages of time, place, be a chandelier also created by Michael. although I did not have a lot of time to
and memory by method of imagination or The snarling beast is a nostalgic figurehead compete him, my sister would find a show
the most advanced technology, we must stemming from the early ninth-century to hack him over to almost every weekend,
harmonize with our natural ecosystem. B.C. decorative endeavours of Oseberg, through the summer. Now I have my own
To Ballard, paying attention to detail is to Norway. Realistic details, for instance, the half-bred to mare that I am training, with
gain entry into the collective anamnesis and teeth, gums, nostrils, pupils, and the shape a little help from friends. She is doing well
seeing every place as a potential locale for of the head, is equivalent to the notable show jumping, having earned three points in
adventure. Dog’s Head of the Osberg ship burial site in the 0-15’s this season. It is always a struggle
southern Norway. for me to fit the time into ride everyday and
ART ImPACT: THE COLLECTIVE It is well documented through to spend as much time as I need painting,
RETINAL mEmORY archaeological evidence unearthed in so the solution I have found is to spend my
MAURICE BENAYOUN Ireland that the Vikings did migrate to the time around horses. Through the extensive
kIASMA MUSEUM country in 793 B.C. in search of conquest training, I have had with my Dad, Kenneth
HELSINkI, FINLAND and territory. With their invasion, the Webb.”
The installation exhibit of Maurice Benayoun Sea Wolves introduced to the Celts the Given this piece of testimony, it is no doubt
is a counterpart of the otherworldly and complicated interlacing pattern and that Neck To Neck and The Sandpit glows
meditation, yet with a definite purpose. animalistic images in art. On each and with Susan’s gentle fondness for horses.
Interactive sound (Jean-Baptiste Barriere) every side of the beam, Killen integrated Born in Newtownards, County Down
and running sequences of scenic a floral motif to devise a rhythmic formula (Ireland) in 1962, Susan Webb, daughter

76 WORLD of ART