On the Grid - (Eryn Begley)

On the Grid 

15-20 September 2011

@ Pickle - Contemporary Artisans Collective

Windsor, Brisbane

Lisa Bryan-Brown’s latest exhibition, On the Grid, brings together an eclectic mix of sculptural works, some designed for the body, some drawn, others crafted from metal, all created within the conceptual framework of ‘the grid’. Bryan-Brown proposed a show which dealt with the thematic concerns of the grid, something which is reoccurring in her own artistic practice, and set about inviting others in her field to join her in this endeavour. Rather than sending out a generic email vaguely outlining her intentions, Bryan-Brown chose to contact each artist individually, explaining just how their work suitably fit the proposed show. Notably, Bryan-Brown elected to not only curate On the Grid, but to showcase her own work in the exhibition.

Although Bryan-Brown expressed some disappointment at two ‘big names’ that declined her invitation, encouraging the artists who did participate wouldn’t have been too difficult, as most knew each other prior to collaborating on the exhibition. However, curation of the art within the space available at Pickle Contemporary Artisans Collective Gallery must have been problematic. At her disposal, Bryan-Brown had what correlates to two hallways to work with, one of which was tucked tightly around yet another corridor and rather small in scale. Nonetheless, On the Grid stands as an exhibit that is both well executed and concise, in its showcase of emerging Brisbane artists, whilst complying with the concept of grid formations. White walls are allowed to remain bare between installations of different artists, highlighting the quality of separation that a grid formation requires. Many of the pieces could very well exist independently, however it is their collective arrangement that encourages the strong narrative present. The essay in the catalogue accompanying On the Grid insists that the embracing of grid constructs as unique to us as a species enables an exploration of the human experience, rather than existing as a cold, objective structure devoid of spirit. The spatial and personal engagement of the audience in the act of viewing this exhibit demonstrates the deeper level of contemplation that is achieved through an appreciation of grids. To this end, Bryan-Brown has succeeded in providing an articulate, comprehensive investigation into the grid, of which she should be truly proud.