Above and Below
Paul Zika: Paintings
Penny Contemporary, Hobart
19 January – 13 February 2018
These paintings continue the pursuit of a pictorial space that remains both volatile and seductive; one that entices and overwhelms; one that we become totally immersed in, and we surrender to that capture! The Terme series draws upon the open linear border designs found in Roman bath mosaics, and the Stellar series has seen the introduction of more complex multidirectional compositions within the single panel. The later series is a response to the architecture of Frank Gehry and the paintings of Ellsworth Kelly and Frank Stella, reappraised in two tours of the USA in 2016-7
All works acrylic on wood; height then width and depth in centimetres. $4840 each
Full CV and biographical details at: www.paulzika.com.au
This project has been assisted by the University of Tasmania
Photography: Simon Cuthbert
Exhibition Opener: Dr Wayne Brookes
Perception and Deception
PENNY CONTEMPORARY, Hobart
September 18 until 14 October 2015
Modernist pictorial space ceased to be illusionistic, and relied upon the figure/ground relationship to create a different pictorial space. In this shift, a new interaction between the positive and negative arose, and this relationship was no longer ‘fixed’. This spatial ambiguity is at its most heightened within decoration. So, despite a high modernist distaste for the decorative; that is an area that I have explored for the last twenty-five years. The pursuit has been for a pictorial space that remains both volatile and seductive; one that entices and overwhelms; one that we become totally immersed in, and we surrender to that capture!
The sources for this research in the past have been the decorative scenographies of Baroque, Rococo, Art Nouveau and Islamic architecture; where there is a seamless transition between form and surface, and embellishment is an integral element rather that a superficial application. Furthermore, there is a diminished hierarchy between fine art and decorative art within these systems.
More recently, the sources have been the Bolivian weaving patterns being revived by the Tarabuco and Jalq’a communities, and Roman mosaics. The Terme series draws generally upon both these sources, and more particularly on the geometric border friezes within the mosaic panels found in Imperial Roman baths. I have expanded these open linear designs and the second phase has seen the introduction of more complex multidirectional compositions within the single panel.
Paul Zika 2015