LandE scape
Josh Foley
CONTEMPORARY ART REVIEW
collections throughout Australia, including the collection of the Queen Victoria Museum & Art Gallery. One of the hallmarks of your work is the capability to create direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decisionmaking process, in terms of what type of language is used in a particular context?
I do feed the perceptual responses and various feedback back into the work and I see the work as a state of flux, like a sponge and with each output the knowledge base becomes wider – in this way, there is somewhat of a phenomenological and even epistomological bent to the project. The more varied the responses I can get the more detailed the uderstanding of the thing will be. future projects? How do you see your work evolving?
I am about to undertake a public art commission for a school in Hobart Tasmania, a three story mural on building with a curved wall which poses interesting aesthetic opportunities and challenges. I am obsessed about taking my work into more and more extravagant perceptual terriotry to extend and enhance the progress I have made so far. For a solo show next year in Hobart, Tas I’ m hoping to be able to present some ambitious large scale works that I have been formulating in my mind for over five years – that will be relief structures made with fibreglass and painted to play with the physical potential of the object.
An interview by Katherine Williams, curator and Josh Ryder, curator landescape @ europe. com
Thanks a lot for your time and for sharing your thoughts, Josh. Finally, would you like to tell us readers something about your
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