Jan Senbergs: Painting Analysis
Figure 3: News, 1991, Jan Senbergs
I was also attracted to another painting, News (1991) by Jan Senbergs (see Figure 3). Due to its large size and appealing colour pallet of blue and browns, this piece at first, appeared quite aesthetically attractive. However, as I viewed the work longer and read into the piece, I saw the not so pleasant, surreal mechanical forms and the harsh brushstrokes that were created by the textured and expressively applied paint. These elements created a feeling of discomfort within me. This artwork was supposedly painted in response to the Gulf War of 1990-1991, where Iraq invaded Kuwait (Australian War Memorial, 2017). It is evident that Senbergs aimed to present the dehumanising culture of war which is conveyed …show more content…
The scared Indigenous spaces, especially, portray a distinct linkage between art and culture. The McAuley Campus is situated on the land that was home to the Traditional Custodians: The Turrabul and Jaggera People (ACU, 2017). Through the aesthetic of these sacred Indigenous spaces, which are based on traditional artistic design, ACU’s respect for The First Peoples and their culture and sacred traditions is explicitly revealed. Two artistic expressions that captured my attention were the Dance and Yarning (storytelling) Circles as well as the Indigenous Reflection space. These sacred Indigenous places captured my attention because of the peaceful atmosphere radiating from the …show more content…
There is a path decorated with Indigenous paintings of Australian Animals such as the Kangaroo,
Figure 6: Path leading to the Indigenous Reflection Space
Barramundi Fish, Emu and Echidna (see Figure 6). This path leads from the Weemala Support room to the reflection space where there is a ceremonial fireplace, large sandstones, a fountain, pond and a large featured artwork. This artwork was painted by Lionel Doyal, a local Aboriginal artist, and is created through the use of formal elements such as earthly brown and cream colours traditional lines and dots (see Figure 7). The organic colours are reminiscent of the natural colour pallet of the Australian environment. This featured artwork, depicting wildlife, I found particularly noticeable as its aesthetic creates a calm and reflective response within
I was also attracted to another painting, News (1991) by Jan Senbergs (see Figure 3). Due to its large size and appealing colour pallet of blue and browns, this piece at first, appeared quite aesthetically attractive. However, as I viewed the work longer and read into the piece, I saw the not so pleasant, surreal mechanical forms and the harsh brushstrokes that were created by the textured and expressively applied paint. These elements created a feeling of discomfort within me. This artwork was supposedly painted in response to the Gulf War of 1990-1991, where Iraq invaded Kuwait (Australian War Memorial, 2017). It is evident that Senbergs aimed to present the dehumanising culture of war which is conveyed …show more content…
The scared Indigenous spaces, especially, portray a distinct linkage between art and culture. The McAuley Campus is situated on the land that was home to the Traditional Custodians: The Turrabul and Jaggera People (ACU, 2017). Through the aesthetic of these sacred Indigenous spaces, which are based on traditional artistic design, ACU’s respect for The First Peoples and their culture and sacred traditions is explicitly revealed. Two artistic expressions that captured my attention were the Dance and Yarning (storytelling) Circles as well as the Indigenous Reflection space. These sacred Indigenous places captured my attention because of the peaceful atmosphere radiating from the …show more content…
There is a path decorated with Indigenous paintings of Australian Animals such as the Kangaroo,
Figure 6: Path leading to the Indigenous Reflection Space
Barramundi Fish, Emu and Echidna (see Figure 6). This path leads from the Weemala Support room to the reflection space where there is a ceremonial fireplace, large sandstones, a fountain, pond and a large featured artwork. This artwork was painted by Lionel Doyal, a local Aboriginal artist, and is created through the use of formal elements such as earthly brown and cream colours traditional lines and dots (see Figure 7). The organic colours are reminiscent of the natural colour pallet of the Australian environment. This featured artwork, depicting wildlife, I found particularly noticeable as its aesthetic creates a calm and reflective response within