Despite the fact that the extraordinary bead paintings of Melbourne-based artist, Alasdair McLuckie are essentially hybridic forms, simultaneously exotic and familiar, they stand as acts of pure creativity and a welcome antidote to a malevolent and destructive cynicism pervasive throughout popularist imaginings and contemporary postmodern politics1. Complex and nuanced times conspire to make works of art that ordinarily could not be less political, assume a mantle of obstinate, structured protest, a disturbation as Danto described it, by a counterpoint quietly but firmly standing in assertion of the sanity of natural processes, the raising of an immovable force that demands a response2: McLuckies work seeks and finds the rhythms of the natural world, breathing, sleeping, waking, walking, standing still, thinking, doing
one thing living creatively, with constructive order, beside an apposite other. Physically and formally, Alasdair McLuckies tirelessly con
|