Claire Anna Walson , Sorlie. 2009, slill from vide o work; HD 1920 x 1080, 4.42min; image courlesy Ihe artist II Micro-n iche ~ JAN E O'NE ILL e might use the term 'micro-niche' to compelled to find their own specific niche. As ever more describe the type of artistic practice that artists are funnelled through this process, so grows the results from the intense scrutiny of a expectation that an artist professionalise with higher W particular, often obscure, body of degrees. Then there are the expectations placed on his or knowledge. Artists working this way are distinct from her practice that are wrought from the justifications that those whose practice has a broader philosophical reach. arise out of the intricate web of academicisation. Some For in a climate where the art market has grown artists, however, manage to resist these pressures. Instead, exponentially, where there is an oversupply of artists (not as the following examples suggest, there are artists who forgetting the ever-expanding China and India), the take a genuinely idiosyncratic approach to the forensic opportunities to stake out new thematic turf have investigation of highly specialised areas of interest. shrunken to a miniscule patch. Were an emerging artist to It is undisputable that technology has opened up adopt a broad-ranging approach today, it would be seen the capacity for closer, detailed and multifaceted to be verging on hubris. examinations of physical objects. But as Jessie Scott There are a number of ways to account for the points out, 'does this expansion of vision enable us to see micro-niche phenomenon. On one hand, we might see it more, to see better? Or is our encounter with nature as the result of the tendency towards academic limited by these increasingly "accurate" but increasingly specialisation, where topics of inquiry become magnified, abstracted, mediated imaging technologies?" In the teased open, and ritually dissected many times over. One creation of her video work Sortie (2009), emerging artist may wonder whether this specialisation is mirrored in the Claire Watson acknowledges this disparity by referring to art world by works that suggest an almost obsessive focus StJL Life '(lith JtrawDerrlM by 18th century still life artist on the minutiae of a phenomenon. We now see huge Adrian Coote. A black backdrop, similar to the one in numbers of artists completing higher degrees as part of a Coote's painting, supplies the setting for a large-scale broader emphasis on professional practice. As part of this projection of a strawberry. The fruit is held up for system, artists are required to write extensively and tease scrutiny before each seed is methodically plucked with out in a logical fashion what is essentially abstract and is surgical tweezers. We hear the amplified drop of each hostile to logic. This is not to decry at all the idea of deep seed into a metal receptacle as the fruit's flesh is torn and rigorous reflection of art, or its rigorous apart. Eventually the strawberry no longer resembles food contextualisation, but it is now the case that art is no and the extraction, or dissection, gives us the discomfiting longer just art - it must also be called research. And sense that we are witnessing heart surgery. Many viewers artists, especially under the institutional aegis, are of this work fled the projection room in a state of distress, li~ arl montht yoUltral ia 25 7 March 2013 33 of a filmic collage where our attention is drawn to the nooks and crannies, the artist asserts a decidedly anti­ panoramic attitude to the landscape. In a similar vein, Russell Walsh works with a collagist sensibility as evidenced in his recent theatre piece, The Trailerd. Walsh devised a sequence of fifty-nine fragments to be read by four actors from William Archer's translations of Ibsen's Pillard ofSociety. Archer translated this lesser known play by Ibsen twice, first in 1888 and then in 1895. In the script, Walsh merges both the first and second translations, achieved by the actors reading the first translation, hesitating with 'no', and then correcting themselves with the second version, as follows: 'Aune goes quietly to the Consul's door and knocks once or twice, softly ... no, knocks softly, pauses a moment, then knocks again.'2 Thus the director draws our attention to the gentle moment of the translator's own invention. This method of isolating fragments of a play, that are then repeated and read by varying actors, has the uncanny capacity to draw attention to nuances of the language and the atmosphere of the original Ibsen work. As an audience we are severed from any I .21Scott Robinson, small choir, 2012, s1ills from video work; single Channel HD video loop (continuous); emotional engagement and instead image courtesy the artist and Beam Contemporary. Melbourne made to focus on linguistic minutiae (which are often the causes of misunderstanding and tragedy in unable to cope with its very gory connotations. Watson's work begins as a Ibsen's works anyway.) meditation on the strawberry and its insides, and the work never waivers from If there were a grandfather of ~ - . this goal. But the highly textured experience of nature resonates so strongly the micro-niche it would be the with ideas surrounding the mediation of natural materials (including our own Austrian author Thomas Bernhard. bodies) that, in the end, the capacity of technology to provide a large-scale, His ferocious appetite for close three-dimensional experience of a piece of fruit fails. scrutiny manifests in slightly varying Scott Morrison also uses video to focus on the small details. The artist but insistent modes of repetition. In depicts landscape from the inside out, and in doing so poses the question: doing so, he successfully reorients 'How do we convey something as complex and deeply textured as Nature?' our attention to the ways that ideas His works begin with a microscopic detaiL such as a raindrop or a grain of are formed. When he speaks, for wheat, in order to provide a point of entry to vast natural environments. example, of the idea of correction, he Morrison stretches and repeats time in intensely looped footage that describes how: magnifies our experience of the subject. Oceallechoed (2008) consists of footage We're constantly correcting, of a field where heads of wheat sway back and forth in an increasingly and correcting ourselves, most hypnotic swirl of patterns. Morrison stretched nine seconds of footage into a rigorously, because we nine-minute sequence. recognise at every moment that At Morrison's most recent exhibition, dmaLL choir, at Beam Contemporary w e did it all wrong (wrote it, in Melbourne, the viewer was immediately immersed in the thick Penrose State thought it, made it aU wrong), Forest in the Southern Highlands in NSW. The film stills weave in and out of acted all wrong, how we acted each other on the screen; the gentle rotation of images is barely perceptible. At all wrong, that everything to times what is being represented is indistinct; hazy pockets of sunlight obscure this point in time is a falsification, so we correct this any view beyond the trees. At others, the artist emphasises refined details, such falsification, and then we again as the indentations of red coloured bark on a pine tree, or a small clearing of correct the correction of this land between tree trunks. Morrison plays with the shift between obscured and falsification and we correct the clear \~SiOD, and in doing so draws attention not only to the proximate trees but result of the correction of a also to rhe Yastness of the beyond that is invisible to us. Through the creation correction and so forth ... 3 ::~:-2C :' 3 drt monthty dustrdtid left: Final performance for debut season of Trailers (m ade by Russell Walsh. Greg Brown. Pa ul Buckl ey, Andrew Ke lly and Simon Wilton) at La Mama theatre, Melbourne, 2t November 20 t 2; left to right: Greg Brown, Paul Buckley and (obscured) Simon Wilton; photo: Laura Hegyesi above: Promotional image for Traders , 2012; ph oto: Nedd Jones In a similar way, Morrison and \Valsh present versions of 1. Jessie Scott, Sortie, exhibition catalogue, larger objects in small. repeated fragments. Instead of depicting the Blindside, Melbourne, 2011 i Sortie was landscape or a piece of theatre as one sublime whole, it is as though exhibited at Blindside, 17 August to 3 these artists hold up a prismatic lens, giving us a sequence of close­ September 2011: www.blindside.org.au range VIews. 2. Russell Walsh, TraiLerJ , 2012, Act 2, p.l; I had never actually realised that the small flecks on the TrailerJ premiered at La l\1\.a ma Theatre, exterior of a strawberry are the seeds. I haven't been to the Penrose Melbourne, 19 October 2012. 3. Thomas Bernhard, Vintage, State Forest either, but I now feel as though I know parts of it Correction , London, 2003, p. 222. intimately. I've never read The PifLard ofSociety, but I now feel a grasp for the style and tone of the play so much that I can still repeat some Jane O'Neill is a freelance curator based in phrases by heart. It is true that the consequences of academic Melbourne. specialisation may be damaging for many artists. But in these cases, each of the artists successfully reorients our attention to a fuller awareness of very particula r subjects. Just as cezanne took to painting oranges and apples with obsessive force, or Monet to haystacks, there will always be in art a celebration of close observation, an almost obsessive immersion in things.