Naima Morelli

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Tag "tribal art"

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During my researche on the contemporary art scene in Melbourne, I had the chance to visit the studio of the artist Alasdair McLuckie at Gertrude Contemporary, in Fitzroy.
The artist moved in recently, in January, and he is very happy to have plenty of space to work.
Alasdair’s first inspiration is primitive art and cultures, an interest that he had inherited from his father. Recently he has re-discovered modernism, that had itself a very close relation with tribal art.
Looking Alasdair’s beads works, you can tell that he is very concerned with the formal aspect of art, and his artworks are accurates in every detail.
There is also storyteller aspect in his work. Some of his collages, prints and drawings are infact collected in notebooks made to be browsed.
Coming into the studio, you can see the artist’s favourite palette everywhere: deep blue, orange, saffron yellow, pink, pale violet, grey, black and mustard green.
The interview is coming soon, in the meantime here you are some pictures from my studio visit.

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Let’s say that we don’t know anything about Cameroon.
Even worse, let’s pretend that we heard about this country only by the soccer match channels.
To be short, let’s have the same approach that the average Italian Macro’s visitor probably has.
It’s more question of practicality than of willful ignorance.
An art appreciator coming visiting the contemporary art museum of Rome will go there without a previous research of what Camuroon is, what are the inner dynamics and the main issues of that country. That’s the problem with the global art. No one can know everything about everywhere and often the press releases and the captions near the artworks explains everything but the context in which the artworks are born.
You can argue that this is the art critic’s job. Well, maybe.

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