A painting by this writer painted in 1975 has been hung high in the shed at Wamboin. It can’t be viewed at eye level as we are accustomed or might prefer to view paintings. Being high it is also distant and small. It claims no rank as an eye level displayed work would expect.
The painting is left to establish therefore, relationships with other parts of the building. The work is partly covered with a line just as within the painting other lines cover the ground of the painting. Above the painting, a skylight makes the blue square within the painting another window.
The painting is abstracted by the context. The context is appropriated by the painting.
The slope of lines within the painting reflects the slope of the ceiling.
The dawn light outside carries the same lack of brightness. The opacity of each conceals that which lies hidden behind, outside.
The blue mistiness of each is moody, ominous.
The painting was this writer’s favorite from their show at Watters Gallery in 1976.
At the same time they were in a group show with Michael Buzacott and Harry Georgeson at Gallery A, which Frank Watters, in his expectation for artist loyalty, never forgave them. *
Painting meets site
The use of ‘them’ is employed in its current context. What denoted plural is now singular and is accompanied by they, to make them gender neutral.