Julia Robinson + Greg Geraghty
Subverting taboo topics - from the sexual to the violence of silenced stories, the exhibitions of Julia Robinson and Greg Geraghty pack a punch at GAG Projects.
In The Song of Master John Goodfellow Adelaide artist Julia Robinson fuses together plants forms with practices of costuming and adornment as she explores themes of fecundity, ritual and the cycle of the seasons.
Whilst Robinson’s practice is embedded in interests in the occult, superstition and rituals surrounding the human experience of death, The Song of Master John Goodfellow marks a turn towards the cultural linkages between humans and nature. Robinson states, “increasingly I have found myself drawn to stories and time honoured customs that have linked humans to nature. The planned works will explore in greater depth key rituals that respond to ideas of fecundity, virility and the endless cycle of the seasons.”
With the exhibition title referencing Francois Rabelais’ notorious satirical novels, Robinson continues this shock factor as she explores and subverts social taboos of sex and death. The vibrant euphemistic forms of Robinson’s works draws direct connections to pagan iconography with their cheeky bawdiness. Creating the objects in the bright colour of gold, Robinson plays upon the elevation of sex and death in the decorative and ritualised world of man.
Unlike the subversive cheek of Robinson, Greg Geraghty’s White Rhyme explores the power of stories told, and the violence against the stories that are untold. Working in oil, Geraghty creates figurative forms and patterns that whirl through the empty space. On the intent behind the creation of these entrancing works he states, “not painting the subject matter, collaging, and turning the gaze away from accepted tableaus, serve to create a number of deceptions I hope may exist quite happily within all other deceptions. Secret weapons. The motif of rockets and flowers. The search for secret weapons (WMD 2003) and flowers brought from a servo at midnight, are used to explore the relationship between motif and motive.”
Spiralling forms appear layered and never-ending as they worm through the space. Chaotic yet structured in their own madness, Geraghty’s patterns are like clues to untold truths.
Both subversive in their own right, as a viewer look forward to being challenged to question the silenced stories, and the humorous taboo of sex and death.
EXHIBITION
Julia Robinson: the Song of Master John Goodfellow
Greg Geraghty: White Rhyme
27 July – 28 August
Greenaway Art Gallery
Images courtesy the artists and Greenaway Art Gallery.
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