‘Geoffrey Weary’s Floating World’, ACADEMICI, Roma

Screenshot 2014-09-07 11.24.02Catalogue Essay, ‘Geoffrey Weary’s Floating World’, ACADEMICI: Academy Gallery, British School at Rome, The Australia Council Visual Arts/Crafts Board Rome Studio Residency 1999-2004, Monash University, Australia Council for the Arts 2005 p38-39 ISBN: 0-9756060-7-7

Text: Tatiana Pentes

MONASH Catalogues: http://www.artdes.monash.edu.au/gallery/catalogues.php#
GeoffreyWearyFLOATINGWORLGeoff Weary, prints 8 and 9 from the series: TIME WAS…, 2003, digital prints on photographic paper, 200cm x 100cm each. Image courtesy of the artist

And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat…And the eyes of them both were opened… Old Testament, Genesis Chapter 2: 6 & 7

A sublime female body descends from the heavens, illumined upon the black painterly digital surface. These selected prints from Geoffrey Weary’s photographic series

TIME WAS…emerged from his residency at the British School at Rome, in 2000.

Exploring notions of the flow of time through cinematic representations of the human form, the artist presents and reveals both the precious object and the visceral shape of the corpus. The images represent the flow of time in the photographic realm. Time passing through and enveloping the body in frozen motion. The concealed female form transforms and reveals a knowing subject. The dualism of the clothed and the unclothed woman allegorise for the viewer the Biblical myth of the Fall. However, the artist transcends this idea through the repetitive exploration of these motifs, exemplified in this series.

Weary’s practice in the field of video art has shifted in the taking up of creative new media technologies and multimedia processes, to incorporate digital media, photomedia collage, where photography alchemically mingles the interplay of historical visual traditions: referencing sequential narrative film, modernist expressionist picture space, and the dark void of mannerist aesthetics. In a self-reflexive mode, Weary calls attention to the materiality of the paint on canvas

and pixels, the legacy of early avant-garde experiments. However, in true multimedia fashion, the fusion of stylistic impulses coalesce on his electronic surfaces, forming both abstract and figurative motifs, the convergence of art historical traditions, media types and knowledge.

And God said, Let there be light: and there was light.
And God saw the light, that it was good: and God divided the light from the darkness. Old Testament, Genesis Chapter 1: 3 & 4.
From the darkness emerges the virtual play of light sources, signifying the shift from perspectival representation to the creation of an imaginary horizon, floating world.

Tatiana Pentes Doctor of Creative Arts (Digital Media) Communications, University of Technology, Sydney, 2006.

Screenshot 2014-09-07 12.39.06

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