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  • Exhibitions 2011-2000
  • Exhibitions 1999-1988
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Mark Braunias

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Mark Braunias

  • About
  • Exhibitions 2024-2012
  • Exhibitions 2011-2000
  • Exhibitions 1999-1988
  • Publication
  • Collaboration
  • Drawing/Studies

Ashburton Art Gallery (2007)

Congo is a Sly Grogger (acrylic and ink on Gallery wall with various attachments and projected animation) Ashburton Art Gallery, Ashburton. 10 March - 8 April 2007.

This exhibition was on loan from the Southland Museum from a show held there in 2005. While many of the paintings were transported a new wall drawing was created on site in Ashburton.

Across the length of one wall, drawings , paintings and attachments overlapped one another while a video projection screened directly over the top. The video interlaced the making of previous wall drawings with short animation clips of drawings ‘moving’.

The wall drawing composed of figurative forms sketched loosely above paintings and next to each other. This was further enhanced by paintings made directly on the wall with similar figurative shapes enclosed inside their borders. This created different levels of spatial depth which was further compromised by the moving images flickering into them.

This chaos made the entire wall seem as if it was in the mode of breathing. It also was the beginning of a phase where animation became a part of the practice.

Ashburton Art Gallery (2007)

Congo is a Sly Grogger (acrylic and ink on Gallery wall with various attachments and projected animation) Ashburton Art Gallery, Ashburton. 10 March - 8 April 2007.

This exhibition was on loan from the Southland Museum from a show held there in 2005. While many of the paintings were transported a new wall drawing was created on site in Ashburton.

Across the length of one wall, drawings , paintings and attachments overlapped one another while a video projection screened directly over the top. The video interlaced the making of previous wall drawings with short animation clips of drawings ‘moving’.

The wall drawing composed of figurative forms sketched loosely above paintings and next to each other. This was further enhanced by paintings made directly on the wall with similar figurative shapes enclosed inside their borders. This created different levels of spatial depth which was further compromised by the moving images flickering into them.

This chaos made the entire wall seem as if it was in the mode of breathing. It also was the beginning of a phase where animation became a part of the practice.

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