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Artist profile & C.V.
Shocker turns master by Jeff Makin The position of Gareth Sansom in the Melbourne art community is ambivalent. To many he is an ageing enfant terrible whose early paintings in the 1960s brought anguish, shock and horror to the bastions of good taste and respectability. To others, he is one of our unsung middle-generation masters. Sansom is now a senior citizen and this overdue survey at the Potter begins with those controversial works of the early '60s and, three galleries and 50 works later, ends with his masterly triptych Sweeney Agonistes, painted this year. In broad terms it is a development from a complex cacophony of heavily layered, semi-figurative painted collage around socio-political, trans-gender themes that, over the years, strips down to bare essentials. It is in one sense the diary of a brush that took the 40-year journey from participant to well-phrased aficionado. In his Great Democracy we see George Washington in continuo across the top of the painting. The American Pop artist Larry Rivers also did a similar thing. Below there's a collaged atomic blast and to the right explicit photographs of radiation burns that illustrate Sansom's protest against the Vietnam War.
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All works oil + enamel on linen, 124 x 124 cm except - 9. oil, alkyd resin + enamel on linen, 149 x 178 cm, 11-14. mixed media on cotton duck, 76 x 61 cm, 15 & 17. mixed media on cardboard, 83 x 104 cm, 16 & 18. mixed media on paper, 58 x 77cm |
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