LAND. BODY. TIME. Hana Carpenter, Elliot Collins
This collection of work plays with the physicality of gestural mark making and with capturing and
containing the body’s energy, which is an empowering creative act. The gesture moves from the body tothe painted surface and lingers for a moment before shifting or being withdrawn.
The slow gestation of poetic moments start from somewhere deep and buried; down in the centre of
one’s spine. The physical act of painting is a reminder that the artist will always be present.
Hana’s work references the real-time visualisation of sonography, which gives a glimpse into the body’s
active subterrain. The paintings are biopsies, ambiguous organic structures, captured in a suspended
state or moment. They hold themselves in a liminal borderland of knowing and unknowing. Fluid paint is
employed in a physical and intuitive building and obliteration of form, the entropy, alchemy and agency
of mark making. Her gesture is her voice.
Elliot’s work references deep time as well as the obvious yet sporadic way memory works. Flowing
inwards or outwards, the river of memory continues. It can meander in the open for collective
remembrance or sink into deep caverns of dark, cold, hidden journeys for only the rememberer to recall
during those moments of silence. Painting gives him a chance to exhale. It stands in for him when he
can’t be there to wave the flag of understanding or consideration. Words are employed just under the
surface of the paint to recall things we’ve lost or act as a reminder, a memorial about a far to specific
memory for public good. His words are his voice.