Jo Mellor’s Cobalt and Rust and Natalie O’Connor’s The Nature of Redness conjure colour from the earth, inviting us to consider the history and character of pigment and its connection to land. Essay by Josephine Morrow
Exhibition Thurs 21 March - Sun 14 April 2024 | Opening Night Wed 20 March at 6pm
Read MoreIt feels like the world has suddenly paused and started to notice things that are small. So small that our eyes do not see them… but we are aware and have a sense that they are there.
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The Gol Gol Layer Colour Observations investigate the changes of behaviour over time of each red coloured artists’ pigment as a response to the oldest red layer at Mungo, Willandra Lakes Region, Australia. This two part installation of wet vessels, along with 24 sheets of paper were submerged for over 2000 hours. The 24 sheets of of paper evidence the effects of each red pigment in watercolour from the time based installation, Gol Gol Layer Colour Observation 5 in 2018/ 2019. Reflecting the typical arrangement on an artist’s palette, they are classified into three groups; Warm Reds, Cool Reds, and Earth Reds.
This observation was first installed as a finalist work as part of the Art On Paper Award 2019 at Hazelhurst Regional Gallery & Art Centre. For the duration of the exhibition, observations of the behaviours of each pigment were documented.
Gol Gol Layer Colour Observation 6. Image: Observation of Permanent Alizarin Crimson- Pigment Red 206 at 2000 hours 21/11/19
Disgusting mould has grown completely over the lid and the top of the solution. Colour is intense and appears very saturated before extracting the paper from the test tube. It was difficult to extract and despite the heavy smell of bushfires in Sydney currently the odour from this sample was pungent. A congealed blob of fungus growth had grown on the paper- the colour was dense and heavily saturated even as it was drying.
Gol Gol layer colour observation 5 - lakebed exhibition, concordia gallery.
Gol Gol layer colour observation 5 at 1000 hours.
I documented the settling of pigment in each of the 25 vessels of colour. Distinct differences were noted and the pigments attachment to the paper surface as the action of evaporation occurred left extraordinary marks that left a visual imprint of the character of each red pigment.
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