Kerrie Poliness
Non-Objective Wildflowers
27th July – 7th September 2024
Anna Schwartz Gallery
Non-Objective Wildflowers at Anna Schwartz Gallery celebrates Kerrie Poliness’ investigations into the formal symmetries of parallelogram geometries, seriality and repetition. As the title suggests, this new body of work conveys both the physical and metaphysical remnants of native wildflowers scattered across the Victorian Volcanic Plains, and the kaleidoscopic resonance of their presence.
Poliness retraces the loss and memory of this wild vegetation, which is threatened with extinction, through translating the energetic colour fields as a network of interconnected structures, into an optical cadence and perceptual diffraction. As the artist explains: “ Like the Sunshine Diuris, an orchid once known as the ‘snow in the paddock’, the colour worlds of these tiny flowers and plants have a particular resonance and energy in the world that continue to be lost. These paintings though, are non-objective, not representations of individual plants or flowers, rather an attempt to recall their visual magic.
Presented as individual works, the overall composition gestures one singular form or line that folds and reforms–bending into a ‘geometric wave’, and forming into a spatial elasticity or corporeal architecture, spanning the entire gallery space. Central to her preoccupation with the diamond motif as well as the structural grid; in these works we experience Poliness’ chromatic language as a semiotic system and as fragmented temporalities. The artist’s ability to capture and formalize the transference of energy from these wildflowers results in an expansive geometry that shifts from subtle to vibrant hues. Executed through a process of subtraction and multiplication, each line acts as an instrument to either reveal or conceal an internal rhythmic logic.
A prominent figure in the Australian art world since the 1980s, Poliness is known for her large-scale wall drawings, often crafted by unknown collaborators from the artist’s instruction manuals and site-specific installations, as well as from her contributions to the 1990s revival of abstract art in Melbourne. Alongside fellow artist Gary Wilson, Poliness launched Store 5, an artist run space focused on new experimentations which interrogated the traditional discourses of 20th Century geometric abstraction and invited members to explore makeshift materials and ‘do-it-yourself’ processes.
Aesthetically aligned to the discourses of 1960s Conceptual Art, Op Art and Geometric Abstraction with artists such as Sol LeWitt, Bridget Riley and Piet Mondrian, Poliness’ examinations are informed by perceptions of the material world and finding ways of experiencing and making visible the unseen. As she explains: “It’s about the physicality and the materiality of the world around us, rather than of some sort of material perfection which I see as an illusion, often representing a higher being. I’m interested in the material world and how we relate to that.”
This enquiry can be traced back to Poliness’ early investigations in the 1990s, when she began observing the subtle differences and irregularities of patterns found in gum leaves compared to tins of baked beans. She observed that whether natural or mass-produced, all objects or things are unique and distinct to each other. “All objects that are mass produced and made to look identical to each other, Poliness explains, are actually all different. Look at the atoms, the molecular structure, the materiality of everything; everything is different. This aspect of materiality connects every object in the world, human-made or otherwise.”
In Poliness’ Non-Objective Wildflowers, viewers experience the sound of a landscape, a conceptual symphony staged by a semblance of interlacing lines. And despite its visual simplicity, this new body of work illuminates the order in nature as an intelligent structure reflecting the complexities between harmony and dissonance. As Poliness reinforces, “Through geometry, it’s kind of like a shortcut to thinking about things that are quite complex.”
Kerrie Poliness Non-Objective Wildflowers, Anna Schwartz Gallery, 27 July – 7 September 2024.