“Interference” (2023), oil on canvas, framed, 180 x 150 centimeters. All images © Monica Rohan, courtesy of the artist and Jan Murphy Gallery, shared with permission
Draped over invisible clotheslines, vintage fabrics conceal seaside vistas, meadows teeming with dried grasses, and craggy walls of stone in ’s latest works. The artist () renders the vast landscapes of her native Australia in a new series of oil paintings as part of Disappearing Act, her solo show on view later this month at in Fortitude Valley, Queensland.
Known for her deft portrayals of pattern and the dimensions of folded textiles, Rohan continues to contrast domestic, human-made material with more organic surroundings. In this series, disembodied limbs draw back the suspended curtains, slowly uncovering the otherwise concealed landscapes. Rohan refers to these small reveals as “portals to seemingly idyllic environments beyond” that accentuate the way paintings—and art, more broadly—intervene in how we experience our surroundings.
The stage-like nature of the paintings draws connections between the limited duration of theatrical performances and the impending losses caused by the climate crisis as they channel “feelings of anxiety and concern toward landscapes under threat,” the artist says. Each is serene with calm waters, sunny skies, and an easiness to its existence, and all notably lack evidence of human civilization. Devoid of a body, the hands add an uncanny tension to the works, as they direct viewers toward what lies behind the curtains and emphasize, as the title suggests, “that the show is about to start.”
Disappearing Act will run from April 26 to May 13. Until then, take a look at Rohan’s , where she generously shares glimpses into her process.
“The Sea” (2022), oil on canvas, framed, 120 x 183 centimeters
“Strung up in late afternoon light” (2023), oil on canvas, framed, 120 x 180 centimeters
“Select” (2023), oil on board, framed, 35.5 x 28 centimeters
“Ridge between mountains” (2023), oil on board, framed, 120 x 90 centimeters
“Riverbank” (2023), oil on board, framed, 120 x 90 centimeters
“Withdraw from the hillside” (2022), oil on board, framed, 120 x 90 centimeters
Do stories and artists like this matter to you? Become a today and support independent arts publishing for as little as $5 per month. The article appeared first on .
Related Posts
