James Powditch
ADAPTATION: New Work from Novel and Screen
SYDNEY OPENING REVIEW
At opening night you might expect to hear a shocked communal intake of breath as the artwork is referred to as “posters”. But David Stratton is a much-loved film critic – his speech carries on to smiles all round. And you have some idea why he chose this word to describe the eye-catching assemblages on display.
(Image: One Flew Over the Cuckoo's Nest)
The bold, pop art images of James’ works give them a striking, graphic quality. From a distance you might imagine the surfaces are single continuous pieces - but they are crafted from second-hand materials. He lists Joseph Cornell as one of his influences – this is more revealing than expected.
Cornell’s Aviaries caught the attention of novelist Audrey Niffenegger to feature in The Time Traveller’s Wife; it’s also now a movie. If time travel was possible, and Cornell not a reclusive personality – we might find both artists together in the old bookshops and junk stores as this is where they each source their materials. Critically each artist has a different eye - the antique and romantic air of Cornell’s art might lead him to the Victorian bric-a-brac of another time and culture, while Powditch’s preference for the 60s and more recent decades would take him to other sections of the store. James is drawn to the technical, and boxes from old workshops might draw him in. Finds are incorporated into impressively neat constructions. The unique materiality of each artwork contributes to the strength of Powditch’s art. But I think there’s a tender poetic note there that we find in Cornell – it’s less obvious but present.
In Susan Wyndham’s review of the exhibition she focuses on her area of expertise - literature. Novels are the subject of the artwork – and components of their construction. Powditch tears apart old Penguins and Pelicans to include in his pieces. I aspire to rush the gates (pitchfork in hand) and the political side of James’ work is quickly noted including the Mickey Mouse-like head in Heart of Darkness and stamps about religious freedom in America. Is Dumbo crying? James told me it is ALL political – and looking around there are clear messages – images are dissolving, more crying – and Naked Lunch appears as a vanitas as the metaphoric sands of time fall from the skull.
(Image: Nineteen Eighty-four. And image below: Detail of Naked Lunch)
It strikes me that just like the spread-eagled inkblot filling One Flew Over the Cuckoo’s Nest we’re all bringing our angle to the artwork. The word “poster” is sort of apt. Consider the strength of the poster. It’s about getting ALL our attention.
Cult by definition is devotion to an idea/object /person and it’s interesting how the artworks relate to this – it would be fair to say the films and books of the exhibition are “cult movies” and “cult novels”. Even Penguin has such a cult following it has relaunched old covers. A touch of the collector is also apparent in the maps, stamps and junkshop finds. I sense we are all being lured in – there’s something for each of us.
These components must have limited allure - how could he truly evoke our devotion?
His subject matter taps into our primitive love of story-telling. Scheider hangs over the boat in the hunt for Jaws just as Gilgamesh of ancient Mesopotamia sought to kill the divine bull.
Thomas Beard of Light Industry in Brooklyn raises the issue of context – remarking that where he saw films is crucial. He’s right! Powditch’s artworks make us recall our past experiences – when and where we read that book or saw that movie.
Film is his passion – it’s driving his art – some of the works are on a huge scale and there are new developments. The humour is still apparent but there are also new materials and techniques. Tiles with letters from the alphabet are used to deliberate effect – spelling out JUNK in Naked Lunch. Paint is rubbed away to show underlying text in One Flew Over the Cuckoo’s Nest. The cardboard packing boxes used in The Unbearable Lightness of Being complete with original handwritten notes bring in a personal human note. It’s these touches that really catch my eye and betray his admiration for Cornell. For me they are akin to that line in the book or movie that we love to quote.
My favourite film quote at the moment is by Rorschach in the Watchmen (2009). Finding himself under attack from the dangerous guys he sent to prison – Rorschach who is a psychopath and superhero makes it clear that he is the real threat.
Rorschach: None of you seem to understand. I'm not locked in here with you. You're locked in here with *ME*!
Sometimes you need to think outside the box and flip things around for a different perspective. This might be worth considering as we appraise the artist’s work.
Because it’s not just his interpretation we can find in the artwork – our own memories and fields of interest are caught up in the art. This is a powerful exhibition – the tales at the centre of each work are some of the most important of our time – effectively an insight and critique on our society. For an even more expanded commentary we the audience are providing an additional powerful layer. Want to know about our culture in the last few decades - and how we feel about it all right now? These artworks are doing just that. 1984 by Powditch isn’t just tied to the film or book, it’s about fears past and present, “big brother” today, and my experiences of the film and book at school.
Just as the mass appeal of the poster belies other motives like the advertiser or political – Powditch’s artwork has subtler layers at work. The poster is also a hard-hitting art form – consider Toulouse-Lautrec and Shepard Fairey. Powditch has directly lifted some components from actual posters which shows his interest in this medium. In Adaptation he has applied the medium’s strengths to his artworks although they are of course not posters. His deepening sensitivity and expansion of skills are more memorable from the show than the use of the term “posters”, which although inaccurate is a noteworthy observation.
END
(Image: The Exorcist)
Images courtesy of James Powditch and Australian Galleries. www.jamespowditch.com.au
Art is the means by which life reflects on, transforms and indeed creates its values; human life without it would not properly be human at all.
Antony Gormley