Friday, August 19, 2016

WINK! The translations of the sonnet.

L’Idole
Sonnet du Trou du Cul
Arthur Rimbaud et Paul Verlaine 1871-72
Obscur et froncé comme un œillet violet
Il respire, humblement tapi parmi la mousse
Humide encor d’amour qui suit la fuite douce
Des Fesses blanches jusqu’au cœur de son ourlet.

Des filaments pareils à des larmes de lait
Ont pleuré, sous le vent cruel qui les repousse,
À travers de petits caillots de marne rousse
Pour s’aller perdre où la pente les appelait.

Mon Rêve s’aboucha souvent à sa ventouse ;
Mon âme, du coït matériel jalouse,
En fit son larmier fauve et son nid de sanglots.

C’est l’olive pâmée, et la flûte caline ;
C’est le tube où descend la céleste praline :
Chanaan féminin dans les moiteurs enclos !

The Idole,
Sonnet of an Arsehole
Crouching and pleated like a violet/eyelet
It breathes, modestly nestled in the moss,
still moist with love's trail of gentle loss
flowing down snowy flanks to its flowery heart.

Trickles, like tears of milky rope,
are wept on the cruel wind that propels them
through the little clots of the russet fen
to be lost down the beckoning slope

My dreams kiss often its wet cup
My soul, jealouse of its ability to fuck
Made of it a nest of tears, a musky duct

It is the swooning date and the caressing flute
it is the tube where descends the celestial fruit
A feminine promised land in moistness shut

Translation by Adrienne Gaha 2016

The Idole,
Sonnet of an Arsehole
Obscur and creased like a violet carnation
He breathes, in humble crawl among the moss
Love moist following the soft escape
From white curves in the heart of its hem

Filaments resembling milky tears
Have wept under the cruel wind rebuking
Through small clots of reddish marl
To be later found lost in the slope calling

My Dream often clenched to its sucker
My soul, material coit jaleousing
Made him its fawn lacrum and its nest of sobbing

The olive is swooning and the flute caressing
The tube in which descends the celeste praline
Feminine canaan locked in moisture enclosure

Translation by Celine Jeanne 2016

Sonnet du Trou du Cul (redux)
Cryptic and creased this purple whorl,
Exhales, hidden humble amongst airy moss
Still damp from soft flights of love
Pale orbs tilting into the lips of its heart.

Milky tears as filaments
Wept, the cruel wind impels them away
Across the small earthy clumps,
To lose themselves where the dunes' slopes beckon.

My dream has oft supped at this lacuna;
My soul jealous of such corporeal exchange,
Wild tears in this nest of wails.

An olive swooning, a beckoning flute
The rush where descends a celestial treat:
Over-flowing feminine banquet, in secret musty cellars!


Translation by Gabrielle Longmate 2016

Wednesday, August 17, 2016

Wink! Installation View

Left to right{rear wall}
MATTHEW HARRIS
Blossoms 2016
Acrylic on canvas
91 x 61 x 4 cm
CELIA HEMPTON
James, 2015
Oil on panel
35 x 30 cm
Courtesy of the Hayman Collection

left to right
LESLIE WAYNE
What Goes In, 2000
Oil on Wood 
14 x 12 x 2.5 inches
Private Collection
ANDREW BROWNE
Prada & ply 2016
Charcoal on Arches paper
94 x 60  cm
GILES RYDER
Space Doughnut (gold) 2008
Perspex, MDF, Builders Foam, Enamel Paint
23 x 50.5 x 50.5 cm
Private Collection


left to right
MATTHEW HARRIS
Blossoms 2016
Acrylic on canvas
91 x 61 x 4 cm
CELIA HEMPTON
James, 2015
Oil on panel
35 x 30 cm
Courtesy of the Hayman Collection
LESLIE WAYNE
What Goes In, 2000
Oil on Wood 
14 x 12 x 2.5 inches
Private Collection


installation
RUTH O’LEARY
History of painting, 2013
Single channel HD digital video, colour, sound.
4:03 minutes

https://vimeo.com/63989706


Special thanks to Adrienne Gaha, Celine Jeanne and Gabrielle Longmate for their considerable acumen and enthusiasm applied to the translations of L'Idole


left ANDREW BROWNE
Prada and ply 2016
Charcoal on Arches paper
94 x 60  cm
GILES RYDER
Space Doughnut (gold) 2008
Perspex, MDF, Builders Foam, Enamel Paint
23 x 50.5 x 50.5 cm
Private Collection


Monday, August 8, 2016

Saturday, May 28, 2016

Snake Dance -Adrienne Gaha

Installation View- Snake Dance _ Adrienne Gaha
Adrienne Gaha is represented by Kalli Rolfe Contemporary Art in Melbourne.


“Orpheus and the Animals’ [after Hans Leu], 2016
Oil on canvas, 153cm x 117cm.

“Seated Nude’ 2016
Oil on linen,76cm x 60cm.

Detail of "Detail ‘Bacchanalian Reveller’ [after Titian]", 2016
Oil on linen, 123cm x 97cm. 

Detail ‘Bacchanalian Reveller’ [after Titian], 2016
Oil on linen, 123cm x 97cm. 
Installation View (clockwise from top). 
Male Nude,[raw umber], 2016
Oil on canvas, 65cm x 95cm.
‘Sphinx’, 2016
Oil on linen. 40cm x 30cm.
‘Aisha Kandisha’, 2016
Oil on canvas, 50cm x 60 cm.


‘Sphinx’, 2016
Oil on linen. 40cm x 30cm.
Detail:
‘Sphinx’, 2016
Oil on linen. 40cm x 30cm.
‘Black Venus’ [after Norman Lindsay], 2016
Oil on linen, 40cm x 30cm.
“Actaeon’ 2016
Oil on canvas,153cm x 122cm.
Installation View (rear wall, left to right)
Black Venus’ [after Norman Lindsay], 2016
Oil on linen, 40cm x 30cm.
“Actaeon’ 2016
Oil on canvas,153cm x 122cm.
Male Nude,[raw umber], 2016
Oil on canvas, 65cm x 95cm.
‘Aisha Kandisha’, 2016
Oil on canvas, 50cm x 60 cm.


Installation View:
(rear wall clockwise from top)
‘Water Through Trees’ [after Albert Hanson], 2016
 Oil on canvas, 50cm x 60cm.
“Orpheus and the Animals’ [after Hans Leu], 2016
Oil on canvas, 153cm x 117cm.
Detail ‘Bacchanalian Reveller’ [after Titian], 2016
Oil on linen, 123cm x 97cm. 
‘Water Through Trees’ [after Albert Hanson], 2016
 Oil on canvas, 50cm x 60cm.





Wednesday, April 13, 2016

Snake Dance-Adrienne Gaha. On view today.


(Left to right rear wall) 
'Black Venus' [after Norman Lindsay],
oil on linen, 40cmx 30cm, 2016,
'Actaeon'
oil on canvas,153cm x 122cm, 2016,
Male Nude,[raw umber],
 oil on canvas, 65cmx 95cm, 2016,
'Aisha Kandisha',
oil on canvas, 50cmx 60 cm, 2016

Tuesday, April 5, 2016


Snake Dance

Adrienne Gaha

Greenwood Street Project

April 14- May 27 2016



This installation of new paintings by Adrienne Gaha provides opportunity to interrogate the artist’s practice by pulling back to reveal a singular event and zooming into explore emotive molecules of this larger tableau.

 The title 'Snake Dance’ incorporates both serious risk taking in order to gain an advantage and, a slightly saucy, kitsch representation of what we perceive as dangerous or sexy. The Hopi Indians danced with snakes and risked their venom and charms in order to send them as intermediaries to the rain gods. At the other end of the spectrum you have early 20th century eastern bodice ripper movies. See Debra Paget’s snake dance in Fritz Lang’s “The Indian Tomb”, or the more recent and ironic, “From Dusk till Dawn”, where Salma Hayak also does a snake dance.

There is opportunity in the expansion and fragmentation of the source material, Titian’s “Diana and Actaeon” at the core. We are free to flirt, ogle and cosset the characters and their properties. This openness to voyeurism brings the viewer into the enveloping sensuality of the fixed gaze. However the rendering of detail, erasures and veils are Gaha’s own provocations to the viewer entering the pictorial space. In her own words “As in the things we find most alien to both our own sense of our selves and our culture, I am curious about our fascination with the dangers and/or rewards we perceive will come from taking it on and attempts to neutralize its seductive power.”

The group of paintings, each investigates detail and mood, each worked richly, sketchily, abstractly in turn but always lush and painterly. The group builds to explore the textures and enticements of a total mise en scène. While Gaha paints figuratively, she “is interested in the point where the paint hovers on the edge of being descriptive of both the image and its own materiality.”

In a broader sense the “Snake Dance” is a metaphor for Gaha’s approach to painting - a kind of subjective vs analytical toing and froing. It is a solitary activity that is also meant to communicate to an audience an act that is also shifting and in motion. To make the decision that the painting is finished requires a constant refocusing and the transformation of an image be it hers or someone else’s and so extends the range of footwork required.



Adrienne Gaha
Detail 'Bacchus and Ariadne' [after Titian],
oil on linen, 123cmx 97cm, 2016