This week, we have a chat with Colin Rosewell about his exhibition opening this week at Chrissie Cotter Gallery alongside works by fellow exhibiting artist, Yanni Johns.
What was the reasoning behind you deciding to have an exhibition together? How did you meet each other?
I first met Yianni at the Gosford Regeonal Gallery about 12 years ago. Since that time our friendship has grown, along with our passion and shared interest for art. Early in 2012 the possibility of joint exhibition presented itself, and we both immediately became interested in the idea of working on a collaborative project together.
Are there any connections in your work? In what ways do your works complement each other ?
Although our works appear quite different both visually and thematically, affiliations and connections can be found in the ways that we both regard technology as being driving and determining force in much contemporary art and culture. Or more specifically, how digital technologies have reactivated modernist tendencies in art and also expanded the possibilities of painting.
Tell us a little about the themes behind your work ?
In acknowledgment of media theorist Marshall McLuhan's claim that all technologies are extensions of the human body and central nervous system, 'InCARnations' recognises the potential in contemporary technologies to augment and enhance human sensory perception and awareness. Or more specifically, the ways in which electron microscopes and radio telescopes greatly enhance natural vision.
With this in mind, found images of microscopy and cosmic imaging, along with photographs of the human body, provide resource for the creation of complex digital images as prototypes for paintings. A methodology in which the experience of both digital and traditional media are conflated and rendered to form a single exhibited surface (poetic remediation). Central to this process, is the idea of sexual energy and aggression transformed as fuel for technological invention and creativity, or the conservation, transmutation and eventual deployment of such energy (entropy) within the creative act. Ultimately, images of the infinite and the infinitesimal inform the cosmic body as ‘chaos incarnate’. A sexually charged, self-learning and self-organising conscious organism continually evolving within an infinitely expanding universe.
Colin Rosewell received a PhD in philosophy/fine art from The University of Newcastle in 2010
What are some of the key influences?
Extends upon research conducted during my PhD candidature that focused upon, and framed, the idea of 'remediation' in relation to contemporary painting. 'Remediation' being a theory that explores how older analogue media and technologies become refashioned and represented into a new media or digital context. In my thesis, I coined the term 'poetic remediation' to describe artists working at the intersection between painting and digital imaging, and ultimately, how digital technologies have in many ways reactivated modernist tendencies in art. The augmentative power of digital technologies remains a recurring theme both in my research and artistic practice.
What messages are you wanting to communicate through your work?
That painting still remains a quintessential and significant driving force in contemporary art.
What do you hope to be the outcome of your shows at Chrissie Cotter Gallery? What’s next ?
Possibly another joint show together for 2014-15.
Anything else you would like to say?
A big thank you to all at Marrickville Council and Chrissie Cotter Gallery for their professionalism, support and efforts.
An Exhibition of Works by Yianni Johns and Colin Rosewell
Pidcock Street Camperdown
31st October - 14th November
Launch Celebration: Saturday 2nd November at 7.00pm