Question 1

In what ways is the imagination engaged by Plate 1?

Sandy Skoglund’s photograph ‘Revenge of the Goldfish’ effectively communicates the power
of the imagination through a variety of art-making techniques. In particular, the artist
immediately establishes a distinct contrast between reality and the imagination through
colour. While the setting of the photograph – a mundane bedroom – is monochromatically
coloured a dull blue, the whimsical floating goldfish are a bright orange while the figures are
similarly salient in the image due to their stark luminosity. Moreover, the artist further
utilises contrast to engage with the theme of imagination through the forms present in the
work. More specifically, the simplistic shapes of the bedroom furniture are juxtaposed with
the fluid, organic nature of the numerous goldfish, conveying to the audience the
wonderous, fantastical qualities of the imagination.

Question 2
Analyse how Russell Drysdale represents and interprets his world in Plates 2 and 3.

Russell Drysdale’s oil paintings ‘Shopping Day’ and ‘West Wyalong’ exemplify the ability of
artists to evocatively interpret and represent the world around them through art-making
techniques. In particular, Drysdale utilises an advanced understanding of realistic
perspective to compose the settings of his works in a manner which highlights their desolate
nature. For example, ‘West Wyalong’ employs strategic composition in the artist’s
depictions of seemingly empty Victorian buildings which wind endlessly into the
background. Coupled with the muted tones used to illustrate the street and lack of human,
organic features in the painting, Drysdale conveys the loneliness he associated with the
world around him. Moreover, ‘Shopping Day’ similarly assembles the setting of the work to
highlight the expansive, desolate place Drysdale is depicting, as empty building façades
continue into the distant background. Drysdale further imbues his work with an atmosphere
of alienation through the abundance of negative space present in the painting. Conflated
with the strikingly pale colour scheme of ‘Shopping Day’, this aids in drawing the audience’s
attention to the four figures in the foreground. Their elongated, thin bodies and bare feet,
as well as direct gazes confront the viewer with a startling sense of despondency. Overall, it
is evident that Drysdale effectively depicts the loneliness and isolation that he interprets in
the world around him.
Question 3
Explain how the artists’ choice of material and actions create meaning in Plates 4, 5, 6(a)
and 6(b).

Contemporary artists Alberto Giacometti and Li Hongbo both exemplify an effective

subversion of classical sculptural practises as they utilise materials and actions to fabricate
new meaning. More specifically, Giacometti reimagines the historical art-making practise of
bust sculptures through his more contemporary treatment of bronze. Moreover, Hongbo
similarly recontextualises historical European sculptural busts through a modern medium of
paper and unconventional representations of the human figure.

To begin with, historical marble sculptures such as ‘Mithridates VI, King of Pontus’ form a
significant inspiration for the contemporary materials and actions employed by Giacometti
in ‘Bust of Annette VIII’. In particular, Giacometti retains the historical art-making practise of
utilising historical, mythological or biblical characters as subject matter. However, the artist
produces new meaning through his unconventional treatment of mediums. Unlike
‘Mithridates IV, King of Pontus’ which manipulates marble to realistically produce a smooth,
naturalistic representation of the human face, Giacometti creates a figurative work that is
rough and highly textured with significantly less attention to anatomical structures. The
messy actions and unconventional manipulation of materials results in the bust pertaining a
sense of distress. This greatly contrasts with the aforementioned Greek sculpture which
utilises clear forms to highlight the perfection and aesthetic beauty of its subject.

Moreover, Hongbo’s paper sculpture ‘Bust of Marseilles’ similarly recontextualises the

classical practise of naturalistic busts. The contemporary artist retains the realistic
treatment of facial features and smooth texture evident in classical Greek sculptural works.
However, Hongbo’s unconventional choice of medium – paper – dramatically subverts
traditional art-making practises. Unlike marble sculptural works, Hongbo’s bust can be
pulled apart into thin, accordion-like layers. This contemporary method of producing
sculptural works alludes to a sense of impermanence, as the medium lacks the time-
transcendent qualities of historical materials such as marble or bronze. Furthermore,
Hongbo evokes new meaning in his work as the malleable nature of the sculpture highlights
the fluidity of identity and modern art-making practises. Overall, it is evident that artist’s
choice of mediums and actions are integral to forming meaning.