every right to interpret
the emotions conveyed
through the looking,
with the assistance of
posture and expression,
to conjure up any likely
stories to link up those
creations of changing
historical styles.
The 2D portraits liven
up. The characters
are not confined to the
frames. They look out,
until their sight catches
the back of Psamathe.
Each character seems to convey a unique personal feeling towards
the nude Psamathe. I tell a sense of adoration from the gentle, loving
eyes of The Student (Thomas Burke, 1938), and also see Elsie Farleigh
(Bernard Meninsky, 1934) admiringly look up to the mystical goddess.
Seated on the armchair with her head rested on her palm, the eyes of
Angelica Garnett (Edward Le Bas, 1950) glaze over, oblivious to what is
happening in front of her; lying down comfortably, the man fixes his eyes
on the elegant female figure as if intently watching Six O’Clock News
(Anthony Devas, 1940). In the spotlight is the mythological Psamathe.
She turns her back away from us, while looking into the distance,
as if saying: ‘you all throw a look at me, but I will not be bothered by
your gaze. I do not need your adoration, or your sympathy; I am not
intimidated by your power and status either, because you have not a bit
of knowledge of my suffering. I can confide in the endless ocean, which
will unconditionally cry for me.”
A visit to the exhibition is a good chance for you to immerse yourself in
this incredible collection of artworks. The exhibition is accessible until 17
March 2019, free entry. For more information, you can also visit its page
on Walker Art Gallery website.
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