Sampler and Everybody run! The Homecoming Queen’s got a ray gun, 2000
Exhibited: Elastic contemporary art projects, Sydney
Leah McLeod, review of Elastic contemporary art projects program (excerpt), Globe E Electronic Journal of Contemporary Art, Monash University, Melbourne, 2000
Luke Parker used both inside and outside the gallery, in separate works. His illuminated sign, FLIMSY CRUST OF OUR WORLD / OVER THE NAKED UNIVERSE, hung outside the door, located the previously unlabeled gallery as a site of risk and vulnerability. So much so that the sign was vandalised, an unwitting performance which only compounded the adventure of self-exposure. Luke embraced the vandalism as completion of the work, much as Duchamp did when the Large Glass was smashed during transportation.
His solo show, Sampler, contained wall work, the most deceptive show of the gallery's run. Looking in, the work masqueraded as inked drawings. Once inside the space, the stitching which made up the images was evident, a deliberate anchoring of cotton on paper, a seeking to salvage boldness from the imposed precariousness of humanness and artistry.
Exhibited: Elastic contemporary art projects, Sydney
Leah McLeod, review of Elastic contemporary art projects program (excerpt), Globe E Electronic Journal of Contemporary Art, Monash University, Melbourne, 2000
Luke Parker used both inside and outside the gallery, in separate works. His illuminated sign, FLIMSY CRUST OF OUR WORLD / OVER THE NAKED UNIVERSE, hung outside the door, located the previously unlabeled gallery as a site of risk and vulnerability. So much so that the sign was vandalised, an unwitting performance which only compounded the adventure of self-exposure. Luke embraced the vandalism as completion of the work, much as Duchamp did when the Large Glass was smashed during transportation.
His solo show, Sampler, contained wall work, the most deceptive show of the gallery's run. Looking in, the work masqueraded as inked drawings. Once inside the space, the stitching which made up the images was evident, a deliberate anchoring of cotton on paper, a seeking to salvage boldness from the imposed precariousness of humanness and artistry.