Our offices at work are separated by a window and sometimes we communicate by writing backwards on the glass a la Amelie. I was reminded of this past-time on Flinders Street where there is a window space which revolves various art pieces. A couple of artists busily transcribing text all over the pane - one writing backwards, the other on the back wall. These seem to be life stories written around and intertwined with one another, and though we didn't read all of them, I quite liked the physical representation of these people's lives - all crossing over and above each other.
Stencil art is so simple, it reminds me of lino cut basics in year 10 art classes. Nice clean lines, one panel of colour and - here's where it differed from el-lame-o teenage lino cuts - an image that can interrupt your travels.
I especially like how it can appropriate both political and cultural icons, obliquely altering meanings found in both.
We found the first one quite striking, not only in its form - fragmented lines as if delivered by a wonky television set; but also in its chilling encapsulation of the war on terror's insistence in generating/ heightening/ maintaining a pervasive fear.
Stencil art is so simple, it reminds me of lino cut basics in year 10 art classes. Nice clean lines, one panel of colour and - here's where it differed from el-lame-o teenage lino cuts - an image that can interrupt your travels.
I especially like how it can appropriate both political and cultural icons, obliquely altering meanings found in both.
We found the first one quite striking, not only in its form - fragmented lines as if delivered by a wonky television set; but also in its chilling encapsulation of the war on terror's insistence in generating/ heightening/ maintaining a pervasive fear.
And how about the triangle of American cultural signposts - Elvis, Audrey, the Phantom.
Oh and I really dig the robots.