 |
 |
 |
 |
|
The Late 1980's Galleries / Lobby
note: The late eighties were very productive years for Gerard: in order to accommodate these large numbers of works, we have divided this aspect of the gallery into several sections: for which this gallery is the lobby. To see all the works from the late eighties please scroll down and click on any of the images to advance to that section. A written text describing this period can be found on the bottom of this page.
| 1986 |
||
| the
installation "hinc illae lacrimae / lourdes - a homage for joseph beuys" |
||
 |
 |
 |
| Exhibition
photographs from the installation with details of the sculptures. Documentation from the installation of this work at Museum London, Canada, where it was included as part of the exhibition "Encounters and Enquiries" curated by Marnie Flemming, 1987. |
||
| ...
please click on any of the above images to advance to that gallery ... |
||
| ... is the world more than empirical reality - could faith bring meaning to misery .. |
||
| 1986
- 89 |
||
| Red
- Blue Works
|
||
 |
 |
 |
 |
 |
 |
| Red
- Blue Works was originally inspired by Gerard's investigations into
the idealistic trends of Neo-Plasticism or De Stijl, Suprematism, Purism,
German Constructivism leading on to Modernism, and other principle movements
from early in the 19th century. This is the most prolific body of work which he created during this decade. This gallery includes documentation on: exhibitions, installations, detail photo's of the sculptures and paintings. Additional texts, articles and links from this series. Flash Movies and more, more, mo re ... or less |
||
| ...
please click on any of the above images to advance to this section of
the gallery ... |
||
| can less be more when revealing the frailty of the human condition |
||
| 1988 |
||
| The
Living Meridian
|
||
 |
 |
 |
| The
Living Meridian Sculptures were created to provide a 'visual argument'
on the Human Condition with a scientific community, who as Nobel laureate
Francis Crick so aptly describes, in his book, The Astonishing Hypothesis:
"You, your joys and your sorrows, your memories and your ambitions,
your sense of personal identity and free will, are in fact no more than
the behaviour of a vast assembly of nerve cells and their associated
molecules .." "I am more than just a physiological machine, because machines don't have soul's. I have known the greatest love! My pain has meaning as does my joy. As artists we can see this if science cannot. I am therefore I am." Gerard Pas |
||
| ...
please click on any of the above images to advance to this section of
the gallery ... |
||
| is there a dialectical solution for science and spirituality or is it just an endless polemical discourse with us the sick stuck in the middle |
||
| By
the mid-eighties, Gerard had been questioning his investigations into
"Beauty" for a few years. His motive was to deal with issues
which he had heretofore ignored and which percolated up within him during
the late seventies. His investigations of the landscape, seen in "The
Early Eighties Galleries" caused him to realize that the
'artist' had the power to convey Beauty as they saw fit. When one looks
at a famous battle site long after the battle has been waged, what one
generally sees today are quite meadows, resplendent beaches or tranquil
river crossings. Once cogent of what occurred in these landscapes: the
waters could suddenly become red in our mind's eye and the reality of
what transpired changes our perception of that landscape: think of the
Battle of the River Boyne in Ireland as an example. The presentation of
these truths is then left in the hands of the artist to weave into the
narrative of their work and elect to show which perspective they wish
us to see. This lead Gerard to go further by using the portrait works
in "Beast /// Beauty," to question what is truth itself - from
the perspective of the artist. The
result of these explorations enabled him to return to where he had left
off his work during the late seventies. Return he did, but now with a
new spiritual awareness that pain has meaning and that empowered with
the technical skills of a proficient painter, he could provide us, the
viewer, with a profound perspective on reality. In
1986 Gerard returned to New York with a small painting of a deconstructed
crutch under his arm. Showing it to long time friend Uli Bohnen, he was
so strongly encouraged by this work that he felt confident to return to
what was for him yet unfinished business. Bohnen,
who was in New York assisting the Guggenheim Museum with a exhibition
on German Constructivism and lecturing at Yale University, would write
the catalogue for this new body of work the following year. Taking the form of his "Red - Blue Works" he would provide a provocative if not subtle understanding of modern 'aesthetic ideology.' Then using this very same language, challenge the very root of contemporary art through these works in their cutting critique of Modernism. Additionally, these works would enable him to spin-off supplemental works which would again relate to the body and set the backdrop for his later works in the nineties. The late eighties would see Gerard pick up his crutches and walk again. |
| Visit the works in the Early Eighties Gallery by clicking here | |||||||||||||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||||||||||||
 |
| © Gerard Pas |  |
