Portrait of Kangaroo No.4 +1 exhibition opening by guest speaker – Christopher Orchard.
Michael Chorney Portrait of Kangaroo No. 4+1
Adelaide Hills artist, Michael Chorney will hold a Solo Exhibition at the Signal Point Gallery in Goolwa South Australia. The exhibition will open at 2 pm on the 8th of December 2019 and run till Monday the 27th of January 2020. This latest exhibition follows on the global success and exports of Michael Chorney’s previous solo shows on the same subject, Portrait of Kangaroo No. 1, 2 and 3. First shown at the Murray Bridge Regional Gallery in 2016 which was opened by renowned Australian Artist/Educator Christopher Orchard. Since then Chorney’s development on the subject of kangaroos has been unprecedented, his work shows a much deeper understanding of the animals, their mannerisms, their beauty, and their innocence. As an appreciation of his personal support, Michael has a tribute to Christopher Orchard in this exhibition hence the +1 in the title.
PORTRAIT OF KANGAROO No. 4+1 is an up-close and personal series of large drawings that capture the individual characteristics of these wonderful animals – Our national icon.
People love the subject, it resonates with their sense of Nationhood, a symbol of individuality that sets us apart from the rest of the world, something we Australians take great pride in. To see into the eyes of a national icon and feel part of the whole, is possibly why people with no artistic background are responding so strongly to Michaels work.
The original series was based on Kangaroos that Michael partner Wink had as roadside rescued animals. Since then his observations have been expanded a variety of other kangaroo species from around Australia. His methods and material have also evolved utilizing modern synthetic media.
Michael claims that his drawing style is simple but expressive. “At a distance, my style gives the impression that it’s highly detailed drawing, yet that is not the case at all. If anything, it’s a fast-nervous gesture of energetic lines, washes, patterns, doodles and whatever else happens. Yet, it happens under control.”
Michael says “I like to work on a large scale as this offers the capacity of full-arm movement. I love line in motion. Each line/mark always has a begging point and an endpoint. Some end with a solid hard black aggressive brick wall while others wisp away into infinity like the transient flick of a whisker seen while the animal is eating or curiously sniffing the air. I also love the sterility of large plain white space against the chaos of fast black drawing. I have come from a working life in Design and Film Set design, I have often fallen into the trap of overthinking my work. This process used to be critical as many scripting objectives had to be met, Engineering structures such as ships, aircraft and building had to perform to expectations and not simply be aesthetically pleasing. Yet, such thinking is more often, than not, a massive hindrance to the expressive arts. It kills the spirit of free flow. It makes the work contrived. You will see some of these sins raising their heads in a few of the pieces in this exhibition. It’s important they are there and not culled. This is me as a sum total result of my life experience, as a person/artist. “
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