<< Back

Ian Chandler's more recent work has been characterized by intensive exploration of the structures and patterns of natural forms, particularly trees and plants and flowers. Despite the large scale of much of this work, the imagery was essentially intimate in character and self-contained - accessible in terms of formal analysis but veiled in terms of primary intent.

In his most recent exhibition, Chandler discloses for the first time a great deal. A number of symbolic motifs including a monolithic figure and bulbous cactus forms appear and take a dominant role in defining the metaphoric content of the works.

Without question this exhibition represents a significant point of artistic development. The key works are constructed around the figure which straddles the composition like a colossus. The figure is flanked variously by cactus forms, fragments of classical architecture and pigs. Other works incorporating an owl and plants which threaten to metamorphose into weapons are based on 'photo-collages' also presented within the exhibition. Along side these works are a series of small ink and quill drawings, most exploring the dominating figure motif.

In some respects, the artist's means of expression hasn't undergone much change. His method of laying down the principle structure in broad brush strokes then blocking in with colour remains. What has changed however is the choice and use of medium. These painting are fashioned from ochres collected in the Flinders Ranges. Their use explains the warm and unified tonality of the paintings. At close quarters the granular, coarse character of the pigments is apparent and appealing.

The end result is that the imagery which may have suffered through conventional line and infill treatment takes on an ambiguity and complexity - an organic quality which contributes a watercolour freshness to the largest of canvases. Of the imagery Chandler comments that the central figure may stand as a symbol of ravaging, gorging consumerism. This would explain the figure's robotic qualities. Other insights draw attention to the complex sense of cultural identity we have - a sort of Pacific dreaming.

The artist is concerned, perhaps angry, at the value-systems of contemporary Australian society. The fundamentalist note he strikes in this exhibition shows how determined he is to retain a critical edge without letting go of artistic lines of enquiry. But the communication remains elusive - properly so - so the concepts plumb intuitive notions about continental drifts in public behaviour and morality. It may be time for Chandler to now retreat a little from the declamatory mode of the large paintings and to consolidate ground in smaller less public works - such as his drawings.

<< Back