Submitted Review


  • Sutton Gallery • Fitzroy

  • 20 November—18 December 2020

  • Donald Holt • Published 25 November 2020

If art were a form of transport the fare might be paid with memory. The route and departure times often will be vague. Once aboard your journey is your own, not always comfortable, guided on the rails of a system with its own signs and signals. The destination, wherever you alight, is entirely up to you.

The presentations at Sutton Gallery, Ann Debono in the large room and exhibition that is a dialogue between recent works by Nusra Latif Qureshi & Rosslynd Piggott in smaller space. While being two discrete presentations, it’s hard to deny connections between the work.

The pieces by Debono illustrate a “pulled in” memory both collected in real time in Rome and found via postcards and ephemera. This collaged ensemble of skilful rendered images roll and boil (some may say roil) in a vortex of trans-historical detritus brought into the now of mystery, naivety, the moment, our absence (due to some travel limitations) & the fantasy or maybe disappointment, channelled through someone else’s eye.

The effect of coffee beans, antiquities & confections tossed in the air while the foot polished mosaic floors hurtle above you, give a sense of a hurried hastily recounted travelogue. The technique is beautiful leaving only the subject as the question.

In the preceding space Nusra Latif Qureshi’s works are visually spartan in comparison. The collected fragments tossed across space. Here, visual layering and gesture bat the silhouetted objects around the field. Instead of Debono’s rendering we have a strong “sense memory” for these outlined forms. Works titled “Dark Months” lead us to deeper turmoil that these bright, intense and glistening images reveal at once.

Two new paintings by Piggott hold a lot of power. Vaporous fields of colour are organized across the canvas. The sensual journey through a palette of a floral landscapes’ life are difficult to read at first. They are activated by geometric glitches that pull the illusive surface together. However, as you approach the works they atomise as if the molecules are hanging in the air, free of the support.

The central engraved glass object pulls us back to Italy. Majestic engraved flowers hang in the air of this work made on many trips to Murano. This love letter, like a postcard sent back from our senses: fragile, illusive, crafted and permanent in our memory.


‘Tickets please’