2004 - mar 24 - apr 11
gallery 1
Passenger
Shelley Krycer + Julie Burke
Julie Burke and Shelley Krycer are driven by process and while exploring traditions of drawing, engage in digital technology as a basis for documentation as well as a method of production.
Duration of time, change and the static all play a role in the works. Krycer and Burke screen animations side by side with accompanying digital prints and drawings. Their work shares a symbiotic relationship that observes the movement and rhythms of the accumulative and reductive processes. The works create a powerful dynamic, visually reverberating in a challenging dialogue with one another, testing the sentiments each artist has established.
Burke's interest in the motor vehicle as an iconic cultural device has developed into an examination of the intimacy and obsession of the process of construction and the journey. Her work exists in a continuum that builds and rebuilds the vehicle, while a second work observes the visual information collected over the 24 hour duration of a journey - erasing only with the anticipation of starting again.
Krycers' animation 'plane drawing,' oscillates fluently from beginning to end and then repeats. It never pauses and never reflects. It is joined by a series of digital print / drawings which pensively retain five separate instances. The digital prints begin with still video footage behind drawn elements and progress through the deconstruction of the animation.
Essay by Leslie Eastman
Threaded between the practice of Shelley Krycer and Julie Burke is the subject of the journey, geographical and temporal. From the interior of one moment to the exterior of the next, this voyage is made through the speculative vehicle of drawing. In her work A Voyage on the North Sea, Rosalind Krauss describes the practice of William Kentridge as one which rather than proposing a revisionist etiolated version of an old method, reinvents the medium of drawing by returning to it. By using the medium of digital photography to record the drawing process, a porous impatient journey is proposed in the works of Julie Burke and Shelley Krycer. One that is sedimentary and transparent. That progresses, completes, returns and erases, only to begin again. The moment visited and revisited. Like the traveler in Chris Marker’s La Jetee our own attention is framed through a circular, permeable envelope that regards the present as a palimpsest of the past, visible only through the past and our reconstruction of it through memory.
Leslie Eastman
2004