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Imago X outlet: The fifth Australian drawing biennale

RMIT University, Australia
Godwin Bradbeer (Aggregated by)
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ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adc&rfr_id=info%3Asid%2FANDS&rft_id=info:doi10.25439/rmt.27337530.v1&rft.title=Imago X outlet: The fifth Australian drawing biennale&rft.identifier=10.25439/rmt.27337530.v1&rft.publisher=RMIT University, Australia&rft.description=The Imago series of drawinqs presents large ovoid visage images that gaze with what may be considered to be either neutrality or serenity toward or beyond the viewer. These works are inspired perhaps most obviously by Egyptian sculpture, but also by the beautiful abstractions of Constantin Brancusi and the classical icons and deities of many cultures. Indeed the works in this series are usually created in pairs and are designed and installed to represent mutual acknowledgement between both individuals and representative cuItures.The series now numbers almost 30 versions, each are unique and are drawn without model or photograph referenced nevertheless from a million faces encountered. The 'Imago' drawings have been developed over a ten year period and because as a series it has become dispersed it appears in my imagination as a lineage of nobility, an anonymous dynasty inportraiture and exile, endeavouring both beauty and gravitas without the catastrophe of a descent into stereotype and cliche.&rft.creator=Godwin Bradbeer&rft.date=2004&rft_rights= https://rightsstatements.org/page/InC/1.0/&rft_subject=Fine arts&rft_subject=Not Assigned&rft.type=dataset&rft.language=English Access the data

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The Imago series of drawinqs presents large ovoid visage images that gaze with what may be considered to be either neutrality or serenity toward or beyond the viewer. These works are inspired perhaps most obviously by Egyptian sculpture, but also by the beautiful abstractions of Constantin Brancusi and the classical icons and deities of many cultures. Indeed the works in this series are usually created in pairs and are designed and installed to represent mutual acknowledgement between both individuals and representative cuItures.
The series now numbers almost 30 versions, each are unique and are drawn without model or photograph referenced nevertheless from a million faces encountered. The 'Imago' drawings have been developed over a ten year period and because as a series it has become dispersed it appears in my imagination as a lineage of nobility, an anonymous dynasty in
portraiture and exile, endeavouring both beauty and gravitas without the catastrophe of a descent into stereotype and cliche.

Issued: 2004

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