We bring our own fires an installation of 8 paintings as part of Remanence a Ten Days on the Island exhibition curated by Noel Frankham, Kit Wise, Svenja Kratz and Zoe Veness.
Theatre of the World
MONA - June 23 2012-April 8 2013
La Maison Rouge, Paris - 19 OCTOBER 2013 - 12 JANUARY 2014
Theatre of the World engages, and rejects, the widely held notion that ancient and contemporary works of art are inherently different, and that we must burden the past with the weight of history.
Theatre of the World is a kaleidoscope: here the viewer sees the object, and that is enough. This notion harkens back to the Renaissance view that art and knowledge are inextricably intertwined. This art is visual poetry.
Theatre of the World has, as its backbone, the Tasmanian Museum and Art Gallery collection of Pacific barkcloths and Mona’s collection of everything. Other sources are tapped when required to enhance the perceptual interplay, or on whim.
In the theatre of the world art is a conveyor of dreams, a mobilizer of imagination, and a conduit for emotion. When we find beauty sometimes we need look no further.
Curated by Jean-Hubert Martin.
A MONA and TMAG (Tasmanian Museum and Art Gallery) collaboration.
Wear No 4 (on left)
2001, high gloss enamel paint on canvas, 210 cm x 190 cm, collection Tasmanian Museum and Art Gallery
back burn, the studio, the basement
PROPOSAL FOR AN EXHIBITION OF ARTWORKS, INFLIGHT GALLERY, NOVEMBER 2012 – NEIL HADDON
This is a proposal for a solo exhibition of artworks ranging across a variety of media including video, digital prints, assemblage and painting. The nature of this work would be experimental (departing from habitual concerns) and would seek to liberate and question the formal approaches of my work of the past several years. This is best explained by providing two rationales, one that captures conceptual concerns of recent work and one that proposes directions for new, experimental work.
the black mirror, the studio, the basement - Neil Haddon, 2012
Platform, Los Angeles, 2012
Dianne Tanzer Gallery Melbourne, 2011
“When he woke in the woods in the dark and the cold of the night he’d reach out to touch the child sleeping beside him. Nights dark beyond darkness and the days more gray each one than what had gone before.” – Cormac McCarthy, The Road.
Neil Haddon’s recent paintings employ a collage-like approach to imagery derived from a variety of seemingly incongruous sources. They present abstracted, tenuous ‘landscapes’ in which we are free to consider how meaning is made when the supporting contexts for that imagery are strange to us. This work draws on Haddon’s experience as a migrant to Tasmania (via six years in Spain) and the ways that migrants find their own poetic meaning in the unfamiliar contexts of their new home.
The paintings use diverse materials and processes to conflate fragments of artworks by Paul Gauguín, John Glover and others, bringing them together within abstracted constructions to picture an unstable ‘Tasmanian landscape’. Here, meaning is in a constant state of flux and is perpetually renegotiated according to the influences of where one once was and where one finds oneself now.