Viewers may experience the desire to exhale upon entering Etymologies by Karl Shoobridge at ArtSpace Teneriffe. The worries they carry could be refracted by the mesmerising myriad colours and shapes. Delivering upon its promise of a coalescence of cultures, it is beyond the literal sense of verbal languages suggested by the title of the exhibition.
There are aspects within Shoobridge’s style that seem reminiscent of Kandinsky’s interwar turn to abstraction. Possibly present is a meticulously mimicked machine aesthetic, not unlike Warhol’s postwar commentary on the rise of consumerism.
The kaleidoscopic repetition, reverberating across the room, is immersive. While passing through it, the patterns could be said to strobe. Yet, the intensity enlivens rather than overwhelms. Such is Shoobridge’s skill in composition, that calm may be found in their order. Music has been made from noise.
While stunning as a set, there is much delight to be found in the details of each artwork. The variations in marks seem as diverse as the colours. While repetitious with mechanical precision, many also seem emotively gestural. Some blends of analogous colour are gently glazed with their complementary colours slathered on top.
In White Elephant (2025) – like the song by Nick Cave and Warren Ellis – spray enamel is overlaid by gestural brush strokes. It’s a conflation that can occur in the streets, where graffiti has been crudely covered. But, as opposed to a cancelling effect, here the capacity to enhance both styles is celebrated.
Equally enjoyable are the remnants of masking, in paintings like You Want It Darker (2025) – à la Leonard Cohen’s morose ballad. Tiny ‘imperfections’ provide access to the processes engaged. The rough edges add to the topography. Cracks, which appear in compositions like Dirty Back Road (2025) – a homage to the B-52s – have been incorporated in a manner that could be likened to crazing in ceramics.Â
There is a craftsmanship to his consistency, across the substrates of canvas, wood panel and paper. Each presents their challenges to paint. The initial digital design process, involving cropping and reconstruction, demonstrates depth and breadth in his skill kit. A viewer can feel safe in these hands. The paintings may offer a moment of repose, which could prove a valuable commodity in the present chaotic climate.
Read: Exhibition review: Gentle Protagonist: Art of Michael McWilliams, QVMAG
ArtSpace Teneriffe is a new initiative by industry luminary Jan Manton. Signalling a hybridisation of her business model, her gallery is intermittently available for artists to rent. This is the inaugural exhibition. Brisbane/Meanjin residents should refer to the Bureau of Meteorology prior to making plans to travel this week. An online catalogue for the exhibition is also available.
Karl Shoobridge: Etymologies will be exhibited until 9 March 2025 at ArtSpace Teneriffe.
