Installed in an old abandoned home, severely neglected and dimly lit is the "Emergence of Bill" exhibition. Walking through the old house to view these pieces creates a sensation that is unexplainable, knowing that the home was once lived in sends shivers down the spine. Set upon the peeling walls of the living room the works of Bill Henson and Bill Viola sit neatly, positioned in a uniform fashion, a complete contrast to the setting of the home. This contrast tightens the bond between the images. The house sets a scene, one that if you look close enough you can imagine what it used to be. All of the elements within the home explain perfectly the transitions of life as the house itself has been through this transition. Henson and Viola’s works are displayed on opposite walls, however, this puts into perspective the glory of their work and how different they are in subject matter but how well they complement each other.
Capturing the viewers' attention instantaneously, Bill Henson - a well known Melbourne artist - is an extremely controversial artist and intensely talented. Henson’s photography is extraordinarily provocative. Focusing on the liminal space between adolescence and adulthood, Henson’s scenarios have been heavily criticized for being inappropriate, however, this is a gross over exaggeration. “Henson's content nestles uncomfortably between the sinister and the trivial.” (Nelson, R, 2005) The viewer is catapulted into a state of mind that produces various explanations of the one piece. Henson captures the adolescent disillusion impeccably. From a psychological and physical perspective, Henson creates a state of delusion within his subjects. The images of pre-pubescent girls are shocking at first glimpse, but the emotion behind them is moving. Henson situates adolescence as a time of detachment. Through the use of long lens photography, Henson sets up a scenario in which the onlooker feels that they are spying. The viewer is put in a position that gives an insight to the uncomfortable and slow limbo that is the adolescent period. Photographed in their state of unconsciousness and delusion, the subjects are the focal point in his images. Photographed with male companions, the adolescent girls in the images look to be even more awkward and uncomfortable than they would if they were alone. Through the unused and blackened space, a secretive and provocative scenario gains focus and sends the viewers gaze and curiosity to the dimly lit adolescents and what they are partaking in. Ambiguous spaces help to enhance the adolescents detachment from their own thoughts, but also from the onlooker. A sense of personality exploration becomes apparent within the awkward body language, also a strong ‘deer caught in the headlights’ expression when the meek and fragile girl looks into the camera’s direction. The subjects, gaze is always abstracted or averted causing a lack of personal and invasive connection to the viewer and the images subjects within the photographs, Henson notes, “The object of my photographs is not always the subject”. (Art Gallery NSW, 2004) Ambiguity is a natural occurrence in Henson’s work, and an interest in exploring ambiguity is a necessity in viewing his art. All of the elements in Henson’s work enhance the message and the strong encouragement for free thought and analysis. His work is also complimentary to the exhibition itself.
Focusing on the transitions of stages in life Bill Viola - an internationally recognised artist - works closely with video as an establishment of his contemporary art. Particularly focusing on thetransitions between when one is born and when one dies, Viola’s work takes on the dualism concept, meaning that you can’t see and understand one without knowing its opposite. The focus of subjects such as life and death, light and dark and natural an unnatural all fall into the concept of dualism. This concept is effective in leaving interpretation open, but directing the viewer on the right track. Viola’s works create an instant connection with the viewer, his work portrays the inevitable in life and this appeals to the raw emotions that are not hard to reach. Viola’s use of video is powerful; unlike photography, it shows movement through time not just a still period in time. Filmed as three separate pieces, Nantes’ Triptych; 1991 was created at the time in Viola’s mother passed away and when his second child was born. Projected onto a large panel, the films are played together. A woman giving birth on the right, on the left an elderly woman dying and in the centre a clothed man underwater suspended between the process of birth and death. Natural noise such as water and heavy breathing is the soundtrack layered over the slow motion of the film. Viola states, “art has always been a whole-body, physical experience. This sensuality is the basis of its true conceptual and intellectual nature, and is inseparable from it.” (Balkema, A 1996) This piece of Viola’s is intensely personal and meaningful. The elderly woman is Viola’s mother as the day before she died, while the baby being born represents the birth of his second son. These two sensitive polarities illuminate the unsettled state between these two inevitable events. Psychologically and personally, Viola’s work is subjugated by the luminous almost ‘dream like’ sense of reality depicted through the quiet and slow motion that is shown in The Passing; 1991 (middle film of Nantes Triptych; 1992) Filmed in black and white and showing personal experiences that many people would have had as children, such as playing at the beach naturally throws the brain into a state of remembrance. Through this state of mind, the viewer’s interpretation is dominated by their personal experiences and memories. An emergence of self-exploration becomes apparent when viewing Viola’s work. Complimentary to the exhibition, Viola’s work should be noted as truly moving and beautiful in both physical form and in the messages that he creates.
The "Emergence of Bill" exhibition is extremely intriguing and is worth visiting.
Bibliography
http://www.theage.com.au/news/Reviews/Bill-Henson/2005/04/26/1114462034805.html
Nelson, R (2005) Bill Henson, The Age, The Age Company
http://www.artgallery.nsw.gov.au/education
Bill Henson Educational Kit (2004) Art Gallery NSW
Balkema, A (1996) The Intellectual Conscience of Art, Editions Rodophi B.V, The Netherlands
Images Used:
Photograph by Bill Henson from Untitled Series 1995-1996
copyright Bill Henson, 1995
Photograph by Bill Henson from Untitled Series
1998 / 1999 / 2000
copyright Bill Henson, 1998
Bill Viola; Nantes Tritych 1992
Video and mixed media
duration: 29 min, 46 sec