Understanding this land from a local Aboriginal perspective. Sharing and passing on ancient knowledge for all Australians’ future survival.
The Urban Text & Oh The Good Sun
Van Rensburg Galleries is proud to present a dual exhibition THE URBAN TEXT by Jon Setter OH THE GOOD SUN by Dan Withey June 12th - July 12th, 2021 OPENING: Saturday June 12th, 2-4pm ARTIST TALKS 2.30pm Jon Setter born in Detroit, Michigan, now based in Sydney. Setter's work is produced as part of an ongoing exploration that attempts to reveal the unseen aspects that shape how we experience and understand urban spaces. Setter’s practice revolves around his on going exploration of the normally unnoticed or ignored aspects within urban environments entitled ‘The Urban Text’. This project originates from the concept that today most cities and urban spaces have become more chaotic, condensed and overbearing. At the same time the constant stream of imagery and media shared online has seemed to dictate what is worthy to witness. This raises questions: What might people be overlooking in the spaces they occupy and does that effect how we consciously understand and experience the urban environment? Dan Withey born Birmingham England. immigrated to Australia in 2004. His art, although addressing dilemmas of modern day society such as consumerism, the environment and freedom, are still imbued with a playful humour and humbleness that make them completely unpretentious and accessible to all audiences. As Dan’s work continues to develop in both skill fulness and substance. Clean lines, vivid colours and solid shapes are the mainstays that make up Withey’s characters. Their simplicity combines human and animal forms into creatures that are neither one nor the other. It’s also worth noticing that his characters are almost exclusively masculine suggesting their role as the artist’s alter egos. Together with their tribal elements, his characters hold a totemic quality, each with its own subtle emotion used to capture Withey’s feelings at the it was created. Paintings of this kind, which reinvent tribal imagery, will always have an appeal because they work on universal visual mechanisms. We respond intuitively to basic colour combinations and simple shapes because they remind us of the inescapable truth that we are all still animals. The use of these mechanisms becomes all the more endearing when used so openly. They politely ask us to let our guard down and remember the simple things we all have in common. Of course, when we do, we discover that it feels good.