Eloise Cato dismantles landscapes. She uses polarities within art contexts to consider the notion of natural disasters as abstractions. This synthetic fabrication of cataclysms is placed as homogenous to sensationalistic tendencies revealed within contemporary society and its byproducts. By the method of burning, her mono-chromatic work becomes not only the remains of a brutal force but the embodiment of an art medium.
Charcoal sourced from bushfire sites in Wandandian and Berrara, and plastic worked from industrial blow-mould extruders take on opposing mannerisms associated with their dual realties. Enabling a direct rendition of cataclysmic aesthetics that struggles to distinguish between natural or man-made origins and methods of creation. This metaphysical guise creates a hyperreal pastiche, a challenge for true disambiguation and as such an entropic state. Which is metaphorically characterised in the Artithesis series by the composition’s twisting of the incompatible and the re-contextualising of the inactive remains as active through the positioning on the wall.
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