Review of the 'Dale Frank' Exhibition May 2006

2 May – 27 May 2006
roslyn oxley9 gallery

I was sent off to find an 18th century diamond brooch, dressed in a donkey jacket and cement-dusted workman’s boots. He understood the past, whereas today’s brilliant butterflies who dine out talk only about the new and know only about the future of their art portfolio’s pricing structure. Their lead shoes are very much in need in the light gravity-less atmosphere., 2005. varnish on canvas 200 × 260cm

Dale Frank’s work creates an instant impact on the viewer. His large glossy canvases explode with colour and attract not only vision but the senses of touch and maybe even taste.

He garaged his new Range Rover as the ABC was due the next day to interview him on what it was like being an artist today even though Sue thought he should park it in the front drive., 2006. Varnish on canvas 200 × 200cm

His works are like gigantic lollipops with rainbows of flavours for you to reach out and lick. The application of paint appears random and spontaneous, its movement on the canvas not due to the deliberate application of the artist, but instead the reaction of the differing viscosity and gravitation influences.. This spontaneity belies the control the artist has over his work. Much control over the medium and environment where the work has been done is indicative of a scientific controlled atmosphere. Reactions of the varnish/paint and dust free conditions must have been carefully considered. The paint is so thick that gravity has caused great pockets of wet paint under a thick drying skin which hangs tenuously, threatening to explode out onto the floor at any second. His painting could be described as lyrical abstraction rather than the action paintings of the 50’s, 60’s and 70’s.

Look after all every painting is really just a small piece of theatre, in its crudest form, said Mr Pole Bean staring through his Polaroid’s., 2006. Varnish on canvas. 200 × 260cm

Sydney Ball’s work is an excellent example of action paintings – expressive abstraction of Australian artists in the 1970’s. Sydney Ball exhibited at Sullivan +Strumpf FINE ART ( The Stain Paintings 1973-79) 9 – 27 May 2006, and gives us the opportunity to not only view this snap shot of art history in Australia but also shows us the lengths of evolution that the process of abstraction has taken. His work, in comparison, lacks the luster and richness of the sensual activity of Dale Frank’s work but they must be viewed as what they are. When they were painted they would’ve been viewed as radical, fresh and full of movement. Time and retrospect may have dulled them, but they have formed an integral part in abstraction, for they contain great passion, impetuosity and movement.

Sydney Ball, Journey Across Blue 1979. Acrylic and oil on archers paper.108 × 139cm

Sydney Ball, Soft Orange, 1974. Acrylic and enamel on cotton duck 274 × 274cm

Sydney Ball, Towards Toledo., 1977. Enamel on cotton duck. 240 × 198cm

Dale Frank’s paintings show how far abstraction has come in a matter of forty years, or so. They are impressive canvases which demonstrate the unpredictability of life which in which we take all possible measures to control. His titles for his work may be lengthy and pretentious, but this is an extravagance he can afford. Hs work is a breath of fresh air into not only one sense but his art is something you wish you could also touch taste and smell.

Half sprawling falling across the front of the car her fingers pulling adjusting her riding up Target knickers. Art is not a victimless crime she murmured glancing at her artist boyfriend., 2006. Varnish on canvas, 200 × 260cm.


Review of the 'Dale Frank' Exhibition May 2006

Marilyn Brown

Joined May 2007

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Review of Dale Franks Exhibition at roslyn Oxley9 Gallery in May 2006.

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  • Ozcloggie
  • Martin Derksema
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