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Night (Tolarno Galleries) © Colin
Duncan 2004
Lasercut Acrylic.
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Lollypop Forest Installation (Tarrawarra Museum of Art)
© Colin Duncan 2004/5 Lasercut Acrylic
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The Labyrinthine Effect (Australian Centre of Contemporary Art)
© Colin Duncan 2004
Braille Embossed Paper Flourescent Lighting
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The Labyrinthine Effect, Vertical Forest, Detail
(Australian Centre of Contemporary Art) © Colin Duncan 2004
Braille Embossed Paper Flourescent Lighting
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Chromosome Pool (Braille embossed)
© Colin Duncan 1997
Paper on Core-board
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Perfume: Fictional Installation © Colin Duncan 2004
Digital Image, Dimensions Variable
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The light reflects off the dot pattern
and then is absorbed by it; subtle shadows fall in one
direction then vanish in another. In the manner of the
earliest kind of photographic images, the delicate but
detailed Daguerreotypes for instance (recorded on silvered
metal plated), the Braille image seems to be the dim archaic
remnant of a vision, one that flickers between positive
and negative depending on the angle and intensity of light.
The more we enjoy the view of these shifting and transparent
ghosts the more tentative and frail they become: we know
that, like the accidental patterns of dewdrops on glass,
the slightest touch will dissolve them.
Edward Colless, Hobart, October
1995
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Nightcar © Colin Duncan 2001
Digital Lamda on Deluxe, Dimensions Variable
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Early Twenty First Century Portrait
: Juliana Endberg © Colin Duncan 2001
Enamel on Canvas
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Crime & Ornament © Colin
Duncan 1997
Cardboard, Acrylic Paint
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Pattering
© Colin Duncan 1997
Cardboard, Encaustic on Ply / Dimesions Variable
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Pattering © Colin Duncan 1997
Cardboard, Encaustic on Ply / Dimesions Variable
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A more discreet
narrative, that encoded in pattern, is investigated
by Colin Duncan. According to a nineteenth century proverb,
"when you can tread on nine daisies at once, spring
has come".
The inconsequential daisy, pattern
piece of Quaker quilts and architectural tiles is one
motif for Duncan's series of encaustic panels. Across
and through history, the universality of simple patterns
suggests a craving for logic and order, a superficial
rigidity undermined by the loose surface and three dimensionality
of this work.
Fabricated from cardboard on board,
the pattern units emerge in relief from the hermetic sea
of the pigment and wax surface, further emphasized by
the minimal palette (one and two colours at most). Extending
the inherent notions of seriality and repetition the artist
produces facsimile panels that can be arranged in innumerable
permutations- as the motifs multiply into panels, the
panels multiply into the greater whole. As nine daisies
blossom into nine hundred, an infinite spring blooms.
© Jennifer Colbert 1994
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