Specifications
divisions between friends is made of an offset printed image of the work’s prior state documented in the exhibition catalogue, acrylic, watercolour and pigmented wax on wood, and ink on paper. Built components made by Gail Hastings.
The work comprises eight components
with an overall measurement of –.
Bibliography
Koop Stuart,
‘Gail Hastings’,
in Victoria Lynn (ed.),
Australian Perspecta 1991,
exhibition catalogue,
Art Gallery of New South Wales,
Sydney
1991,
pp.50–51.
Excerpt
The genesis of graphic language used in architectural and engineering drawing is often taken for granted. It derives from a system of orthographic projection in which any form might be mapped onto a plane according to a series of parallel projections from any point on the surface of the form, providing elevations and plans of the form in space. It is a system or model of representation which presumes an infinitely distant point of sight so that the projections are parallel and perpendicular to the plane (the effect of aerial photography). This is in contrast to one point perspective in which these projections converge at a single vanishing point and point of view (their diagonal trajectories converge at a certain ideal point of view in relation to the form). Thus orthographic projection produces a point of view within a two dimensional rendering which is omnipresent in relation to the form. …
The floor plan or aerial view, as one of any number of such projections of a form in space, retains this quality in a point of which dissipates evenly across the entire surface of the plan. One is, as it were, above every point of the map; that most privileged vantage point, of God, of the pantheon; a point from which to perceive your own participation in the work. This is the inherent democracy of maps; a point of view (or rather encompassing plane) germane to the notion of a public audience. — Stuart Koop, p. 50
Lynn Victoria,
‘Introduction’,
in Victoria Lynn (ed.),
Australian Perspecta 1991,
exhibition catalogue,
Art Gallery of New South Wales,
Sydney
1991,
p.11.
Excerpt
In Hastings’ work we are asked to reconcile two positions: that of having the privileged point of view over the site or plan of the work, and that of being made to feel over-sized and external to the three-dimensional Alice-in-Wonderland world before us.
HoldingsGail Hastings’ studio
divisions between friends is available for acquisition. Please enquire about viewing the artwork.