Belinda Allen & Christopher Lawrie
“The past is never dead. It’s not even past” (William Faulkner)
Belinda Allen and Christopher Lawrie combine images, film, books, texts and soundscapes in an exploration of history and culture of place. Utilising imagery from travels in Europe, Japan, India and Australia, images are layered and juxtaposed to reveal synchronicities and contradictions that perplex our perception of place, whether as outsider or insider.
Belinda Allen’s ‘sacred’ images of history, culture and landscape are layered with the quotidian and ‘profane’ – street scenes, newspaper clippings, found texts and accidental ‘art’ – to provoke our thinking about how each informs our experience of the ‘now’. http://belindaallen.com.au/
Christopher Lawrie explores the dichotomies and synergies between contemporary Islam and historical, non-secular Christianity. In a modern world that is struggling with the place of religion in social and political life, and most particularly with the perceived ‘threat’ to Christian and secular cultures of an imposed ‘Islamic State’, it is pertinent to reflect upon the origins of our own secular culture and the place of the spirit. https://vimeo.com/christopherlawrie
In any place there are layers beneath the surface of the landscape – cultural, historical and political, but also spiritual and emotional. In countries like Italy and India, these things are inextricably entwined, and different dimensions of history and culture are evident in contemporary life. For a transient visitor from the ‘new world’, these places where layers of history and culture co-exist can seem quite chaotic and contradictory.
In Australia we have a sense that culture is newly minted, but there are hidden histories of place that we are sometimes discouraged from dwelling on. Gathering the fragmented stories of different places, engaging with the layers and complexities of culture, can enrich our understanding of the places we ourselves inhabit, where habituation breeds complacency and we cease to notice what underlies our mundane experience.
Belinda Allen has worked with photographic palimpsests since the 1970s, when she combined, collaged, scratched and defaced photographic negatives and positives into new autobiographical compositions. In the 1980s she was fascinated with urban palimpsests, represented by worn and torn walls of posters and graffiti. Her more recent work has printed over texts in the form of vintage book pages. The current exhibition draws, figuratively and literally, on photographs taken during recent travels, and continues to include printed texts as background, overlay or juxtaposition with her photographs.
See http://belindaallen.com.au/about/ for complete CV.
Christopher Lawrie’s installations layer and juxtapose images, video and sounds recorded in Istanbul, Kashmir, Delhi, England, France and Italy, as well as found film and texts, and ‘salted’ objects that link this to his ongoing ‘History of Salt’ project. The videos include original music and soundscapes. Chris has created installations since the 1980s, combining painting, photography, sound and found objects. A recent project (New Suprematism) appropriates and claims ‘found’ spaces in museums and galleries, linking to them using digital QR codes.
See https://christopherlawrie.wordpress.com/c-v/ for complete CV.
- Endormie (60cm x 42cm) – inkjet print (from ‘Palimpsest Europe – In Arcadia’)
- Montefalco/Rome (60cm x 42cm) – inkjet print (from ‘Palimpsest Europe – Sacred/Profane’)
- Workers (Kashmir) (33cm x 48cm) – inkjet print from (‘Palimpsest India – Sub/Text’)
- Trio (55cm x 120cm) – inkjet print (from ‘Come Fill the Cup’)
- Gates (55cm x 150cm) – inkjet print (from ‘Come Fill the Cup’)
- Dark Secret1 (42cm x 60cm) – inkjet print (from Dark Secret)