In New Geometricks, Hargrave expands on her previous ruminations on interconnectedness by immersing herself wholly in the creative process rather than focusing on strict geometric considerations. Technically confident, Hargrave has trusted past experience to guide this show, ultimately letting her subconscious decide which direction the work would take. The overall effect is ethereal and otherworldly, with compositional studies that drift between cloudy dreamscapes and emerald green underwater worlds. Gem-like prisms tumble upon each other in perpetual motion, floating forward and back, rising and falling with each undulation, giving the works a softness and tactility more akin to quilting or thread art than the hard edges of geometric abstraction. Devoid of representational forms and fixed-point perspectives, emotion is instead conveyed via the subtle nuances of colour, tone and shape, acting not unlike music’s ability to evoke feeling and sentiment. There is a sense of progression and impermanence across these works too, mirroring the moments of personal transition Hargrave herself experienced while in the studio. The result of this working style is a practice that serves as a filter between her outer and inner worlds, ambiguous to the audience, but a visual diary of lived experiences for Hargrave herself.
Ultimately though, Hargrave’s works aren’t intended for such didactic consideration. Rather, these shimmering compositions should inspire contemplation and introspection in the viewer, allowing an opportunity to consider the theories put forward, and to volunteer another interpretation entirely.
It is the constant push-pull of life – how we impact, and are impacted by, our surroundings that is key. Carrie McCarthy
Lyndal Hargrave has a Diploma of Education in Fine Art from the Queensland University of Technology. She was the winner of the 2011 Mosman Insitu Sculpture Award, a finalist in the International Lace Award at the Powerhouse Museum in Sydney, twice a finalist in the Blake Prize Directors Cut Exhibition and a finalist in the Stan and Maureen Duke Prize. Collections include Artbank, The Gold Coast City Gallery, Redland City Council, Ipswich Grammar School and Greenslopes Hospital.