5 Skeins of wool in the tapestry I'm currently attempting:
They look obvious here, but are not so easy to distinguish under dim lights in the evening. Just for the record, there's also a lot of blue.
|Cripple in smoke from factory chimney|
South Melbourne (1944) also features cripples, crutches and wheelchairs with dogs bearing witness, but this time the violence has escalated. The abandoned church in the background may represent structured society while the heads on sticks call to mind the angry mob in Lord of the Flies as they bear aloft a coffin for a skeleton.
The primitive figures of The Kite (1943) seem to be enacting some sort of scapegoat sacrifice as the man who forms the kite itself looks down upon their sins, with extrapolated associations of greed, religiousness and bestiality.
“I’d like to feel that through my work there is a possibility of making a contribution to a social progression or enlightenment. It would be nice if the creative effort or impulse was connected with a conscious contribution to society, a sort of duty of service.”
|The thirty pieces of silver|
Boyd travelled to central Australia in 1951; like many Australians he had previously had very little contact with Aborigines, and he was shocked and dismayed at the living conditions of Aboriginal people in the Simpson Desert. He produced numerous small observational sketches, made as notes, during travel by car and truck in and around Alice Springs. Over time Boyd processed these experiences into a narrative which first manifest in the medium of ceramic tiles, such as Aboriginal groom (1957-58).
Bride in a Cave
|Bride drinking from a pool|
The groom and his bride were the protagonists in Boyd’s Bride series, which includes the significant paintings, Bride in a Cave (1958) and Bride drinking from a pool (1960), and convey his concern for the stigmatisation of those of mixed race.
|Nebuchadnezzar in a fire|
|Red Nebuchadnezzar fallen in a forest with a lion|
|Menelaus throwing down sword before Helen|
|Nude with rabbit and syringe|
Large skate on a grey background
|Jonah on the Shoalhaven|
"The only way to deal with [guilt] as an artist was to paint it out of my system. To expunge my own guilt by painting it and in a way face up to it. I mean guilt in a general sense, because although I do the painting, everyone else who then looks at it is in the same position as myself. I hopefully have helped them to face their guilt also"
|The Magic Fish|
|Picture on the wall, Shoalhaven|
|Hanging rocks with bathers and Mars|
|Spare the face, gentlemen, please|
“You cannot say enough bad words about war. For a long time I was obsessed by war, all those dark thoughts about the individual slaughter in the First World War, people with their legs hacked off and throats cut. The war got more mechanical and more scientific and more awful."Much of Boyd's art focuses on the futility of war, yet, with similar atrocities occurring again and again, this exhibition could equally well ask the viewer to reflect upon the futility of art.