In his 1991 book 'National Life and Landscapes: Australian Painting 1900-1940', Ian Burn wrote about…
In this latest collection of new work by Melbourne artist Adriane Strampp, Pilgrimage expands on the artist’s ongoing interest in connection, memory and spatial relationships, and in particular, our relationship to particular places or things meaningful to us. How do we remember the places we once knew? Fragments of memories reconstituted to a fluid fusion of elements that we recall, pieced together to recreate a new reality, landscapes made of multiple locations creating a universal sense of familiarity. In The Notebooks of Malte Laurids Brigge,(1910), Rilke compares the collation of memories to the house:
I never saw this strange dwelling again. Indeed, as I see it now, the way it appeared to my child’s eye, it is not a building, but is quite dissolved and distributed inside me: here one room, there another, and here a bit of corridor which, however, does not connect the two rooms, but is conserved in me in a fragmentary form. Thus the whole thing is scattered about inside me, the rooms, the stairs that descended with such ceremonial slowness, others, narrow cages that mounted in a spiral movement, in the darkness of which we advanced like the blood in our veins.
Whilst continuing an ongoing interest in the landscape in terms of revisiting of places once familiar, Pilgrimage includes a more intimate look at connection through the interiors and personal possessions of other artists’ homes and studios. Both the interior and external landscapes take the position of observer separated by subtle barriers, shadows, reflections or distance, a reminder that we can only ever be the observer, not the participant in other people’s places.
View catalogue here.
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