Christiana Spens went to the Saatchi Gallery to talk to Quilty about his exhibition, as well as his past work as an official war artist, embedded in the Australian Defence Force in Afghanistan, and his wider ideas about history, identity and brutality.
Quilty’s work confronts Australian history and identity through a series of Rorschach-inspired paintings. These include Fairy Bower Rorschach (2012), which layers colonial landscape with past atrocities against Aboriginal people, and Self Portrait Smashed Rorschach (2009), in which images of past debauchery coincide with a surface whose textures recall trees and abstract patterns. His Inhabit series, meanwhile, challenges ideas of Australian colonialism and identity, through paintings of Captain Cook evolving from a devil and into portraits of the artist.
Interview by CHRISTIANA SPENS
Filmed by MARTIN KENNEDY
Ben Quilty is at the Saatchi Gallery, London, from 4 July – 3 August 2014.
Click on the pictures below to enlarge
Melbourne Art Fair 2006: A Celebration of Indigenous Art and Beyond
In August, more than 26,000 visitors flocked to the biennial Melbourne Art Fair, considered by the Australian Arts Council to be among the top three contemporary art events in the Asia Pacific region.
Patrick Tjungurrayi and Warlimpirrnga Tjapaltjarri
The showing of two senior Aboriginal artists in Melbourne this month is one of many opportunities to view the rich and varied work of Australian indigenous artists. Since 1999 Scott Livesey Galleries has mounted an annual exhibition of work from Aboriginal communities, accompanied by a fully illustrated catalogue.
Artists in the Bush: Land Issues in the Art of GW Bot, Wendy Stavrianos and Helen Geier
The landscape has inspired all Australian artists since the first explorations of the continent, and Settlement in 1788. The Land is also central to Aboriginal culture, and increasingly their perceptions and culture are being explored within Australian culture as a whole. The past 20 years, has seen increased interaction with Indigenous art, with the establishment of artist collectives and the proliferation of Aboriginal art for the market.
Aboriginal Women as Ambassadors of Art and Culture
The story of the Australian Aboriginal batik projects in five distinct desert communities in the 1970s and 1980s reveals a series of ironies, which enable contemporary Indigenous art in Australia to be better understood. The works themselves are superb, as the exhibition at the National Gallery of Victoria, Australia reveals, indeed they are breathtaking in their cultural association, their aesthetic power and their technical skill.
The Triumph of Painting. Colour Power: Aboriginal art post 1984The Saatchi Gallery, London.
'The Triumph of Painting' is, in certain respects, the triumph of Charles Saatchi. For 20 years, he has been an arbiter of taste in contemporary art, capable of making or breaking artists' careers. 'The Triumph of Painting' has attracted great media attention for the apparent U-turn Saatchi has made, from supporting the conceptual work of Damien Hirst and other young Brit artists whose work was apparently made to shock and to push the boundaries of art to the limit. In 'The Triumph of Painting' the work of one artist, Martin Kippenberger, is championed, perhaps at the expense of other artists who have been equally responsible for extinguishing the grand gesture in art.