Damian Mop­pett: Progress in Advance of the Fall

19 January-24 Feb­ru­ary 2007

Damian Moppett

Progress in Advance of the Fall was an exhi­bi­tion of twelve new paint­ings in oil on paper and sev­eral sculp­tures in clay and plas­ter by Damian Mop­pett. Con­sis­tently, Moppett’s prac­tice seeks to con­sider the reper­cus­sions of influ­ence, cit­ing var­i­ous mythic or idio­syn­cratic moments in art his­tory, folk cul­ture and per­sonal numen.

Moppett’s new oil paint­ings depict objects in the stu­dio as well as a num­ber of self-portraits. His Cary­atid, Lamp and Sofa in Stu­dio locates a fig­u­ra­tive plas­ter sculp­ture that the artist derived from Auguste Rodin’s Fallen Cary­atid with Her Rock (1881) in its stu­dio pro­duc­tion site, com­bin­ing a his­tor­i­cal touch­stone in sculp­ture with a con­tem­po­rary, atten­tive artis­tic sub­jec­tiv­ity con­noted by the sofa and the lamp. The exhi­bi­tion also fea­tured sev­eral sculp­tural works by Mop­pett that con­tinue to inte­grate the medium’s con­ven­tional oppo­si­tions. The cary­atid is itself a fig­ure of impli­ca­tion and fusion, refer­ring to an abstracted female human form used as an archi­tec­tural pil­lar. In a sec­ond sculp­ture, enti­tled The Acro­bat, the Brancusi-like play between pedestal and sculp­ture that Mop­pett refined in his pottery-bearing, painted metal sta­biles and mobiles of The Vis­i­ble Work (Con­tem­po­rary Art Gallery, 2005) is fused and inverted. The sculpture’s util­ity as a self-contained, muse­o­log­i­cal sup­port struc­ture has merged with the fine, earthen vessel-like sur­face of clay—to sug­gest that per­haps the rela­tion­ship between pot­tery and sculp­ture is grow­ing closer.

CJ Press: The Lack in Each by Aaron Peck

For fur­ther infor­ma­tion or press enquires please con­tact Catri­ona Jef­fries or Anne Low at +1 604 736 1554.