Exhibition Review: Emma Dougherty, ‘Phi*lat*e*ly’, at ‘The Vaults’

first_imgIn Spectrum I, eight long canvases hang in a line. In lifeless cooperation, the yellow gives way to the red, the red to the pink, and so on until we reach and browny-grey end. This is the visual version of that nursery-school rhyme about the rainbow, and about as challenging. Peering at the components which create these colour themed canvases, I was, despite the dullness of the canvas as a whole, reminded of the immense appeal of a beautiful stamp. In the information accompanying the exhibition, Dougherty suggests that elements of her work ‘may evoke nostalgia of sending out your very first Christmas cards’. If ‘nostalgia’ and the implicit evocation of childhood is her aim, then perhaps her pieces are more successful than they initially appear. It was with a childish pleasure that I spotted in the yellow canvas belonging to Spectrum I a Roy Lichtenstein stamp from New Zealand, a rectangle containing the teary face of a coifed woman appearing over the mysterious shoulder of her man. Although the individual stamp engaged my interest, nothing about its context was exciting; Dougherty seems to have grouped the stamps together purely on the merits of their being yellow. Indeed she comments: ‘My advise to philatelists is, if you find a yellow stamp, keep it- it’s by far the rarest colour’, a depressingly dull reason for placing the Lichtenstein on a canvas along side a stamp from Singapore showing a taxi, an old style Christmas stamp, and an etching of Victoria falls which graced a stamp from Northern Rhodesia. Surely such juxtaposition has the potential to say something more substantial.  But perhaps the potential for social comment has not entirely eluded Dougherty. The title of one canvas, ‘Society’, hints at an awareness of the potential of stamps to reveal and indeed instil the values of a society. Unfortunately, the canvas is a rather weak partner to its title, and seems to be nothing more imaginative than a collage of society figures, Henry the Eighth and Churchill among the crowd. The square of ‘Society’ is, however, an infinitely preferable piece of work  to ‘Flora’ and ‘Pieces’, which show, respectively, stamps with flowers and stamps with fish stuck, apparently indiscriminately, on to canvases, which are much the weakest things in the exhibition. This is a shame in an exhibition that need not be weak at all. Aside from the obvious potential for social comment, Dougherty has also, in her stamp led works, the potential to create images about obsession, about what it is to hunt for stamps, to preserve them and to try, as she does, to turn them into something larger than their individual selves. She titles her exhibition ‘Phi*lat*e*ly’ but there is nothing in it about what it actually means to collect stamps. On the last wall of the tea room exhibition, watching benevolently over her cake-eating subjects, are multiple Queens stuck on to a canvas inexplicably entitled ‘Milton’. The multi-coloured Queens – a playfully derivative take on Warhol – have an ironic charm, however a lack of thought as to their positioning again lets the piece down. On the left hand edge of the canvas, two anomalistic white stamps lead the eye through a colourless door out of the painting. Again the impression is of something which nearly works, but needs more consideration as to its composition if it wants to draw anyone’s eye away from their carrot cake.  On the way out, I spotted a little canvas entitled ‘Jack’. Here, for the first time, Dougherty has swapped tweezers for scissors and cut blue and orange ordinary Queen’s head stamps down the middle, before aligning the un-matching halves to create two tone stamps. I stopped and looked, trying to work out if this tiny subversion had created any interesting effects, which might make Dougherty’s work more than ambient. In the end I discerned that it simply made the Queen’s neck rather fat. by Madeleine Dodd At ‘The Vaults & Garden Organic Café’, Radcliffe SquareUntil 23rd February; open every day 10am – 5pm; free Emma Dougherty’s work is also being exhibited as part of ‘The Oxford Open’ at Modern Art Oxford, until 17th February.last_img read more

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Camp Hill home sells under the hammer for $1.22m due to block size

first_imgThe home at 16 Halland Tce, Camp Hill, sold for $1,220,000.THE Camp Hill market is still proving hot with this modest Queenslander selling under the hammer for $1,220,000.Savvy investors bought the 16 Halland Tce property 40 years ago, but preferred not to disclose how much they paid for it.Place Bulimba lead agent Joanna Gianniotis said the auction was fast-paced, with seven registered bidders on the day.“There was an opening bid of $800,000 and the bids kept coming without stalling until reaching the final figure of $1,220,000,” Ms Gianniotis said. More from newsCrowd expected as mega estate goes under the hammer7 Aug 2020Hard work, resourcefulness and $17k bring old Ipswich home back to life20 Apr 2020The kitchen at 16 Halland Tce, Camp Hill.The home eventually sold to a professional couple who plan to renovate the residence, which was built in 1930.Ms Gianniotis said they were experiencing a shift in buyers moving away from smaller blocks, which was driving prices for bigger properties.“There is a huge demand for larger blocks, because we’re entering an era of families wanting to live back on larger blocks,” Ms Gianniotis said.“This home drew a lot of attention because of the sheer size of the block. It’s just so hard to get a 810sq m block.“And there are a lot of families out there looking to build their dream home.”Video Player is loading.Play VideoPlayNext playlist itemMuteCurrent Time 0:00/Duration 10:02Loaded: 0%Stream Type LIVESeek to live, currently playing liveLIVERemaining Time -10:02 Playback Rate1xChaptersChaptersDescriptionsdescriptions off, selectedCaptionscaptions settings, opens captions settings dialogcaptions off, selectedQuality Levels720p720pHD432p432p270p270p180p180pAutoA, selectedAudio Tracken (Main), selectedFullscreenThis is a modal window.Beginning of dialog window. Escape will cancel and close the window.TextColorWhiteBlackRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentBackgroundColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentTransparentWindowColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyTransparentSemi-TransparentOpaqueFont Size50%75%100%125%150%175%200%300%400%Text Edge StyleNoneRaisedDepressedUniformDropshadowFont FamilyProportional Sans-SerifMonospace Sans-SerifProportional SerifMonospace SerifCasualScriptSmall CapsReset restore all settings to the default valuesDoneClose Modal DialogEnd of dialog window.This is a modal window. This modal can be closed by pressing the Escape key or activating the close button.Close Modal DialogThis is a modal window. This modal can be closed by pressing the Escape key or activating the close button.PlayMuteCurrent Time 0:00/Duration 0:00Loaded: 0%Stream Type LIVESeek to live, currently playing liveLIVERemaining Time -0:00 Playback Rate1xFullscreenJune, 2018: Liz Tilley talks prestige property10:02last_img read more

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