Backwoods Gallery
DECORATING THE APOCALYPSE
Fred Fowler
Decorating the Apocalypse is a playful investigation of themes related to cultural identity. Images of masks and faces function as the primary signifiers in Fowler’s work. Through sculpture, painting and printmaking, he questions the ‘mythologies’ or artificial constructs surrounding issues of identity.
Cheap, plastic, Chinese-manufactured toys are sourced locally before being deconstructed and re-configured to finally emerge – through the ancient process of casting – as intricate, bronze masks. Similarly, kitsch, wooden, ‘primitive’ masks, found in flea markets in Paris and Melbourne, are methodically vandalised, painted and re-presented as cultural artifacts of contemporary society. Complementing his sculptural work, a suite of intricate, dry-point etchings mark Fowler’s experimentation with his own ‘counter-currency’. Through these prints that assume the form of banknotes, he explores themes of monetary and cultural value, and the role of the artist as creator of value. By building up different layers of meaning into his work, Fowler creates multi-dimensional pieces that remain open to interpretation by the viewer.
Selected solo and joint exhibitions include VCA Graduate Exhibition, Melbourne, 2011; South of the Border, Lo Fi Gallery, Sydney, 2011; Larger Than Life, The Substation, Melbourne, 2011; Space Invaders, National Gallery of Australia, 2010; Surface, Michael Koro Gallery, Melbourne, 2009; The Outsiders, Kristian Pithie Gallery, Melbourne, 2009; Highland Chamber, Until Never Gallery, Melbourne, 2008; Bootlegger, Until Never Gallery, Melbourne, 2007; Refil 7, MTV Gallery, Sydney, 2007; No Comply, Federation Square, Melbourne, 2006; Productivism, Fine Art Gallery of Ballarat, 2003; Raiders of the Lost Art, A.R.T Gallery Eden, Melbourne 2001.
Fowler’s work is held in the National Gallery of Australia collection, as well as in private collections in Australia and overseas.
DECORATING THE APOCALYPSE
Fred Fowler
Decorating the Apocalypse is a playful investigation of themes related to cultural identity. Images of masks and faces function as the primary signifiers in Fowler’s work. Through sculpture, painting and printmaking, he questions the ‘mythologies’ or artificial constructs surrounding issues of identity.
Cheap, plastic, Chinese-manufactured toys are sourced locally before being deconstructed and re-configured to finally emerge – through the ancient process of casting – as intricate, bronze masks. Similarly, kitsch, wooden, ‘primitive’ masks, found in flea markets in Paris and Melbourne, are methodically vandalised, painted and re-presented as cultural artifacts of contemporary society. Complementing his sculptural work, a suite of intricate, dry-point etchings mark Fowler’s experimentation with his own ‘counter-currency’. Through these prints that assume the form of banknotes, he explores themes of monetary and cultural value, and the role of the artist as creator of value. By building up different layers of meaning into his work, Fowler creates multi-dimensional pieces that remain open to interpretation by the viewer.
Selected solo and joint exhibitions include VCA Graduate Exhibition, Melbourne, 2011; South of the Border, Lo Fi Gallery, Sydney, 2011; Larger Than Life, The Substation, Melbourne, 2011; Space Invaders, National Gallery of Australia, 2010; Surface, Michael Koro Gallery, Melbourne, 2009; The Outsiders, Kristian Pithie Gallery, Melbourne, 2009; Highland Chamber, Until Never Gallery, Melbourne, 2008; Bootlegger, Until Never Gallery, Melbourne, 2007; Refil 7, MTV Gallery, Sydney, 2007; No Comply, Federation Square, Melbourne, 2006; Productivism, Fine Art Gallery of Ballarat, 2003; Raiders of the Lost Art, A.R.T Gallery Eden, Melbourne 2001.
Fowler’s work is held in the National Gallery of Australia collection, as well as in private collections in Australia and overseas.