Submitted Review


  • CHAUFFEUR • Darlinghurst

  • 05 August—04 September 2020

  • Alanna Irwin • Published 21 August 2020

You pause when scrolling, settling on one image in consecutive but fragmentary sluices. Curator Ashleigh Jones also pauses on this quicksilver image-stream, pointing to the many contradictory selves that we, the scroller, move through with ease. This very contemporary psychology actually draws its name from Greek mythology – from the shape-shifter Proteus. ‘PROTEAN’ makes visible but untranslatable this capacity to reinvent ourselves.

Antoine Aguilar’s wall-spanning, low resolution image is at once thousands of whole images and one blurred image under a microscope, offering a succession of infinities. Splitting this secret sea of data points, pulsing cathode-rays, and photons is Brydie Greedy’s amorphous canvas, forming a quivering blue portal. Both works are resistant to the hierarchies of resolution and immediacy that structure our image-wrought world. They certainly have surface allure, but are also formed through complex processes of scanning, refracting, enlarging, and stretching. Distortions of a perfect circle are a testament to human slippages, set against a pointillist universe of infinite choice; both merely reminders of their former selves.

‘Distortions of a perfect circle are a testament to human slippages’

Taylah Hasaballah’s paintings are abstracted portraits of another person’s Instagram, where colours, shapes, habits and desires coalesce. Her furnace-like compositions suggest an underbearing alchemy, where identity is transmuted, experimented on, and wished into more valuable forms through digital reckoning and prophecy. The protean question asks how much control we have over this process. Do parts of our identity calcify as we are siphoned towards more extreme versions of ourselves, or are we indeed endlessly malleable? Vertiginous questions of where the self begins and ends are their most elemental in Timo Kube’s veiled mirrors, where you catch shivers of form as you move around the room, incidental and arresting. Mirrors covered with luminous, translucent fabric become the site of innumerable potential images. Like in myth, they appear slippery, ultimately evading capture.

Alanna Irwin

Curator: Ashleigh Jones
Images: Courtesy of CHAUFFEUR, Sydney
Photo: Tristan Jensen