In the early days of black and white television one would adjust the contrast frequently for almost any problem effecting viewing pleasure. This activity, combined with banging the side or top of the box, or wiggling the aerial in many positions caused rolling, multiple images, split images, ghosting and a variety of star-like static that could almost be seen as swirling abstract constellations and patterns. This was often accompanied by noisy, sonic hissing, the aural equivalent of visual distortion. As a child I would often spend as much time watching this partial abstraction as the actual programs. My ensemble group of works titled ‘The Killing Moon’ relates to this experience. Stills from some of my favourite natural history documentaries and music shows from the ABC TV archive have been simulated and transformed into works on paper.
These works are inspired by the natural world and have been ‘adjusted’, creating contrast with the real and imagined, fantasy and fiction entering the realm of scientific techno-fact via television’s gaze.
Widely recognised for her sculptural works reflecting aspects of the organic world, Louise Weaver creates works on paper for Out of this world that extend her initial exploration of the ABC TV archive. Combining lithographic prints with detailed embroideries, painted surfaces with sequins, and shards of reflective plastic, these ‘shallow relief’ works on, and through, paper remember the grainy static of after-hours television, where liquid forms disappear into points of light and darkness.
Text and image are integral to these poetic works as referenced by several of the titles. The night school (Rage) 2006 and Black Flag2007 refer to music, a requiem, mourning and loss. These black on black works have formal plastic qualities, but may also have social, political and cultural readings.
In contrast to these nocturnes, are works such as Fire Starter 2007 and Lava 2007.
These highly saturated colour works are carefully orchestrated. The plastic attached to the surface of these works suggest celluloid film with the nuances of surface patina creating sensory kinetic effects and optical patterns. They are in a state of flux, constantly changing as they reflect and refract light from any given view point.
Works on paper are integral to Weavers’ practice. They take many forms; as sketches and notations, intimate drawings which plan the execution of sculptural works and installations, as prints which elaborate ideas through technology and the multiple and as unique extended works often implementing highly detailed and time involved processes such as embroidery.
Louise Weaver’s work can currently be seen in the exhibition New Acquisitions 2007 at Sydney’s Museum of Contemporary Art, Love Chief at the Auckland Art Gallery, New Zealand, and from 1 June in DE OVERKANT/DOWN-UNDER, The Hague Sculpture in The Netherlands. It has recently been included in group exhibitions including Yours Mine & Ours, 50 years of ABC TV, Campbelltown Arts Centre, Sydney (2006), and High Tide, Zacheta National Gallery of Art, Warsaw, Poland & the Contemporary Art Centre, Vilnius, Lithuania (2006). The Artist’s work has also been included in individual exhibitions including Taking a Chance on Love - Selected works 1990 – 2006, McClelland Gallery and Sculpture Park, Victoria (2006) and features in the current issue of Art & Australia (Volume 44, Number 3). This is the artist’s sixth individual exhibition at Darren Knight Gallery, Sydney.