sky is fallen.

Success! This morning I deinstalled my exhibition 'sky is falling' from the Toowoomba Regional Art Gallery. I even sold most of the artworks (but not my personal favourite, luckily), so that's a bonus. Since it is no longer being exhibited in physical form, I thought I would upload some of my artist statement (below) and some photographs from the opening (available on my Daniel Qualischefski Art facebook page) for those who couldn't make it.

In other news, I will hopefully be braving the cold ceramic studio some days soon to make some new artwork and necklace pieces. Will keep you posted when it happens!

Excerpts from my ARTIST STATEMENT AND FLOOR TALK:

I am often drawn to processes of creating that are meticulous and repetitive; the building up forms from minute details, such as the laborious nature of dotting or piercing. As such, I consider the time I spend detailing and creating an artwork important to its conceptual basis and to its resolution – metaphorically imbuing a sense of time and quietness into a work, and subsequently inviting reflection and time from the viewer. My painted paper body of work reflects this approach, as I incorporate hand-dotted forms and precisely organised compositions, albeit organised to appear organic. While the works appear to be quite abstract then, there is definitely intention behind their creation.

For my paper works I have been looking at the interplay between the enamel and aerosol forms – on one level as representative of human characteristics and relationships concerning attraction and repulsion, and on another level as a means for a wider visual interaction. Within this second level I have been exploring spacious landscapes and skyscapes, particularly since my addition of oil paint and mineral turpentine mass forms – a visual element that provides a base for the other forms to work from. These mass forms also suggest a darkness that is balanced by the gathering / attracted enamel forms. The dot matrixes are also important, as they are a visual counterbalance to the apparent abstraction. The dots are also often indicative of human thought and intention, reflected through the visual pull of the enamel forms.

The placement of the painted forms is thus paramount – they are intended to interact with one another, reflecting subtle individual and familial relationships, and suggesting concepts of isolation and rejection, and conversely inclusion and embracement. This interaction is reinforced by the subdued colour scheme, the expansive negative space and the titles of the works.

…sky is falling is my first solo exhibition in which I have shown only paintings. I was keen for the chance to work on a larger scale, and to explore a particular theme that I envisaged since the completion of my work – she will go down with her ship of promises – last year. That work was the starting point I think, as while my original intention wasn’t necessarily for a skyscape sort of work, I think it does speak to me about the idea of the sky falling.

Since I’ve been exploring the human condition and relationships and relationship breakdowns to an extent, I liked the metaphor of the sky falling down around someone, along with the possibility to look at more apocalyptic, biomorphic inspired imagery. Having this exhibition also gave me the chance to explore and develop a body of work (as an exhibition) that ‘builds’ - from inception, heightened through the idea of doubt and worry in doubt clouds, an understanding and realisation reached in the subsequent works, and a resolution through the final works, culminating at Fallen; the idea of both the sky having fallen down, and also the historical and religious connotations of that word. I do see the exhibition as almost a narrative, with the enamel and aerosol forms having human-based dialogues with the dot matrix forms, which often represent ideas and intentions, and these dialogues and relationships playing out from beginning to end. Within this, the works allude to certain intentions, reactions, and an inquiry into human nature and the human condition, particularly during trials and emotional hardships.

I am also interested in the wider visual interaction of the works; the aesthetics and compositional components that make them work well together. In this way, they extend from the spacious, more carefree compositions and colour schemes towards the darker skyscapes that indicate the collapse of a feeling, of a relationship, and / or of the world itself.