In his statement, the person does not have to be a painter or sculptor to be an artist; they look beyond this simplicity and embrace the creature Inside by coming inventive, searching, daring and self-expressing in the way they use media. Viewers are lured towards their works and their attention is captured. Gordon Bennett, an Australian Aboriginal artist, demonstrates this theory through his work. Possession Island (Appendix 1), 1991 and Notes to Basque (Jackson Pollock and his Other) (Appendix b 2001 , will be discussed in relation to Henries statement.
Bennett was born in Motto, Queensland in 1955 of Anglo-Celtic and Aboriginal ancestry (Taylor, 2009). His paintings incorporate narrative through the use of graphic detail. Bennett possesses International critical acclaim achieved through the Intricate behavior in which his work connects with historical and contemporary questions of cultural and personal identity. This engagement comprises of a specific focus on Australia’s colonial past and Its postcolonial present (National Gallery of Victoria. N. D. ).
Possession Island displays a photocopy of Samuel Culvert’s engraving, Captain Cook taking possession of the Australian continent on behalf of the British Crown AD 1770, as a layer in the background. The original image was cropped and reproduced in old and black line work (National Gallery of Victoria, n. D. ). On top of this image. Bennett slashes lines and dots of red, yellow and black paint across the surface of the canvas, which mirrors the colors of the Aboriginal flag. Other than these unclear disturbances. Black skinned male figure, representing an Indigenous Aboriginal, dressed in Western clothing is shown in the centre resembling a slave. This is the only clearly defined part of the painting where he is not bothered by the slashes of paint, but Is painted carefully and outlined by the grid behind him. Throughout the work, the use of line has been incorporated excessively with no set direction. Some are curved, yet others are angular; some horizontal, yet others vertical or oblique. This could suggest chaos and confusion.
This specific use of line leads to the visual texture of rough and Jagged areas as it has no even consistency or steadiness. Predominantly, It has a dark value when focusing on the background. An obvious tonal contrast takes place in the foreground where the male figure is situated; it attracts our attention despite that it is not of a large size. This monstrance a wide tonal range, especially with the Impact of the black rectangular object accompanying the figure. Other than this shape, there are no other defined shapes illustrated in the painting.
The range of color Is limited with the application AT red, yellow Ana Dalai, renting ten colors AT ten Adoringly nag. Blue Is ten mall color in the background conveying a somber or depressed atmosphere. Our understanding of history is influenced by visual images which also often reflect the values of the social and historical context in the image, highlighted in Bonnet’s Possession Island. This work in particular deals with the treatment of indigenous Aboriginals during the colonization of the English. The reproduced image of the engraving shows Captain Cook raising his hat as he is about to take possession of the land.
The Aboriginal in the painting is offering refreshments to Cook and his party. He acts as a servant to the intruders despite it being his own land. The grid structure positioned behind the Aboriginal figure is a recurring motif in Bonnet’s work which represents the rigidity of European rationality (Poplin, 2010). He is reduced to servitude as he remains imprisoned by the grid. Bennett quotes Jackson Pollock’s distinctive style of Action Painting in which movement and gesture are used to create strokes and marks that suggest energy and emotion (Nash, n. D. ).
Although much of Bonnet’s work involves subjects drawn from both history and contemporary Australian culture, other more recent works also comprise of international contexts. This includes his series, Notes to Basque, which eagerly reflect on the terrorist attacks of September 1 1, 2001 highlighting Bonnet’s global perspective. His transfer to focus on American subjects is partly due to being pacifically labeled as an Indigenous artist. Bennett did not approve of being pigeon- holed as it limited and reduced the meaning and range of his art (Mclean, 2008).
In Notes to Basque Jackson Pollock and his Other), the left area of the canvas explodes with images of the devastatingly unforgettable attacks in the United States, including New York, on September 1 lath. These images are boldly illustrated in Jean-Michel Bassist’s graffiti-like style. Basque was an American artist well known for his spontaneous and gestures paintings and was crowned a ‘black urban’ artist (National Gallery of Victoria, n. D. ). A recurring symbol in his work is an image of a three-peaked crown; it also makes an appearance in Bonnet’s work, hovering beneath an image of a fire.
In the right area of the canvas, Bennett has clearly referenced Jackson Pollock’s Blue Pole: Number 11, 1952. The style and image of this painting could be described as similar to a D J (Disc Jockey), sampling and remixing different styles of music to create new expressions (National Gallery of Victoria, n. D. ). Not many defined and distinct lines are used in the area on the right, although, he does this on the left. A majority of these lines are of vertical alignment, directing the viewer’s eyes towards the hazardous fire, airplanes, and smoky skies above.
Also, use of vertical lines suggest alertness. More lines that primarily consists in the left area are oblique which conveys a feeling of movement and action. These lines are accompanied by shapes of squares and boxes as opposed to any round objects. Bonnet’s Notes to Basque is chiefly revolves around the terrorist attacks of September 1 1, 2001. He uses this and its global impact three months after the event as the stage for his discourse on cultural identity. He depicts how pain transcends place Ana event to encompass a global awareness .
Nine Inclusion AT Pollock noels build these cross-connections. This artwork is of cultural and social context as it deals with the terrorist attacks. After analyzing the artworks of Gordon Bennett, it has come to a conclusion that Robert Henries statement is true. Bennett has directly demonstrated the artist Henry has described as his paintings look past the simplicity of Just painting onto a canvas, as well as containing deep meanings and stories that express himself and his thoughts. The work of Bennett captures the attention of those who view it by the inventive and searching style that he works with.