2007 PENNY BYRNE - BLOOD, SWEAT AND FEARS

EXHIBITION IMAGES

Under the radar

In recent discussion with Penny Byrne she told me how the purchaser of one of her works with an especially virulent political message had completely failed to see the point. She wondered why this person had bought the sculpture and how they could miss the message. Was it destined to be a time bomb waiting for a rise in the level of the purchaser’s awareness or just another art trophy on the mantelpiece? If so this is true to the artist’s subversive intention and practice.

Political, environmental and social issues are seldom so obviously the subject of contemporary art as they are in Penny Byrne’s sculptures. Goya, Delacroix and Picasso all produced potent imagery concerned with war. In recent years the work of artists such as Andy Warhol, Gilbert and George, Tracey Emin, and the Chapman brothers has frequently dealt with the less attractive aspects of contemporary life. Although few Australian artists have tackled these subjects the work of the poster artists of the 1970s and David McDiarmid in the 1980s, addressed high-profile social and sexual issues. Byrne’s sculptures are concerned with a wide range of issues including, human rights, war, political corruption, whaling, greenhouse gas emissions, and even the ethics of plastic surgery.

Byrne makes use of found objects, the detritus of modern life and the ‘treasures’ of the op shop. She is especially fond of using twentieth century Japanese figurines made in imitation of eighteenth century European ceramic sculpture. Lacking any of the delicacy and beauty of the originals, these figurines have a farcical quality on which she builds. Carefully observed, and with a keen eye for the possibilities, as well as making use of her skills as a potter and ceramic restorer, Byrne subtly transforms these mass-produced objects so that they have meaning and wit. A fashionable couple in eighteenth century costume are transformed. Toile du joie becomes jungle camouflage, a metal helmet replaces a cap, Uzis replace shepherd’s crooks and grenades hang from belts. An array of small figurines, like pieces from a chess set, are blindfolded and have their skirts and frockcoats painted in prison orange while being guarded by a soldier, all souvenirs of Guantanamo Bay. Just the sort of thing to take away from your visit!

Penny Byrne’s sculptures are witty and amusing. For many they will remain just that. For some their subversive nature will remain undetected. However, for those prepared to give them closer attention, and think about her subjects, nothing is what is seems, or, at least remains what it was. These are works to prick the conscience.

John McPhee