Moores Gallery Exhibition, Fremantle, W. Australia, 2012

This body of work, grounded in an exploration of time, is a collaboration between U.S./Australian artist Laura Mitchell and William Yeoman, poet & Books Editor/Arts Writer with the West Australian. Yeoman developed 12 poems based on the Horologos, a structure in which each 12-line poem corresponds to a particular hour of the day and night, and each group of three is also related to a particular season. The central theme of his work “Horologos: 12 Improvised Studies after a Clock Face” is time; the central subject is the striving for freedom through inferring the past from the present in order to create a possible future. Mitchell’s imagery includes references of the actual text embedded within the landscapes of the paintings. The layered imagery, composed of figurative elements superimposed upon texts and textures, allude to Yeoman’s notion of inferring the past from the present, and how the parallel existence the two layered moments in time meshes to create one’s future. Some of the figurative elements reflect his references to mythology, and others on the passing of time through the seasons. Also juxtaposed in the layers with maps and imagery is Mitchell’s personal history between the 2 continents of N. America and Australia. The process used by Mitchell to create these contrasting layers loosely reflects Yeoman’s references to Greek mythological characters Dionysus and Apollo: Dionysus, the ecstatic god of wine, relates to the spontaneous, improvised imagery of the backgrounds. Apollo as a civilizing force, a tight structure, relates to the foregrounds which are figurative and premeditated. In closing, the works reflect upon the interplay of the human construct of time with how time is expressed in nature.



“Sands of Time” Mandala

A numeric mythology: the “anthropomorphic numbers” placed around the sand mandala are a further exploration of the human condition within the numeric structures we place upon time. The conical sand formation reflects the contents of an hourglass, and the circular footprint and numbers reflect the face of a clock or a sun dial. The sun moon sculpture in the center and circular formation references the Mayan calendar, especially notable this year because 2012 is the end of the Mayan calendar and subsequently some believe an Armageddon may occur.

“Sands of Time” Mandala concepted and constructed by David Bromilow and Bill McRostie and Laura Mitchell. The soundtrack is an improvisatory collaboration between William Yeoman, Mark Cain, and Laura Mitchell. There are 3 “tracks” that respond to both Yeoman’s poems and Mitchell’s paintings based on those poems. (Poems 5, 11 & 12)

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