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25<br />
Seraphine Pick<br />
Wonderlust<br />
acrylic, oil and graphite on on canvas<br />
signed and dated ’96; title inscribed, signed<br />
and dated on artist’s label affixed verso<br />
2005 x 1606mm<br />
$25 000 – $35 000<br />
42<br />
A dream world full of wonder and possibility is evoked in this<br />
ambiguous and mysterious painting by Seraphine Pick. The<br />
artist’s use of paint and graphite is employed in a manner that<br />
is extremely subtle but powerful. The gauzy, pale planes of<br />
neutral tones reveal ever so seductively, an intimate space<br />
hazily remembered – an ephemeral screen upon which the<br />
viewer can project their own memories or desires.<br />
Wonderlust is a composition of contrasts where smudges<br />
of graphite and veils of layered white and cream paint create<br />
a feeling of both lightness and oppression. Fragments of<br />
figures and architectural elements delicately etched onto<br />
the surface remain tantalisingly apparent yet undefined as<br />
washes of white over-paint erase any perception of stability.<br />
The abstract, underlying grid, stairway and landing leads<br />
to an alternative landscape and a feeling of both ascension<br />
and descent is achieved by the white column-like blocks<br />
off-set by the ghostly stairs. Dualities such as inner scape<br />
and landscape, figurative and abstract are rendered as one<br />
and the same, they vanish and reappear - confounding and<br />
provoking us to search for something tangible in this uneasy<br />
realm.<br />
Seraphine Pick’s painterly style has undergone many<br />
incarnations, as her recent survey exhibition Tell Me<br />
More (2009) epitomised. During the 1990s, work such as<br />
Wonderlust played with the notion of narrative challenged<br />
by a use of monochromatic colour and minimal drawing as<br />
if what remains after an event is scratched into sight like an<br />
echo slightly askew. Broken relationships, erotic encounters<br />
and intuitive images are depicted in surreal domestic settings<br />
or played out among a melange of displaced characters and<br />
objects. These white-out paintings seem to distil emotions<br />
and by their very restraint question memory’s precarious<br />
validity. Pick proposes that the addictive sensuality of<br />
wondering will offer unlimited access to visions buried in the<br />
subconscious.<br />
Jennifer Hay