The new works, still illuminated by Sokquon’s signature use of primary colours, see the éclat introduction of ocherous colours. These landscapes are always close physically to the artist and revisited by isolating certain memories. Also anew, the works celebrate apricity, and for the first time the artist’s knife has been applied to carving out the built environment, with icons identifiable to us all.
Steering away from the fashionable return of desolate outback town to canvas, these new works carrying on from the great legacy of works such as Spring Frost by Elioth Gruner, and Arthur Streeton’s Golden Summer. These landscapes, predominately from the Southern Highlands of NSW, and cityscapes from the East and near-Western fringes of the CBD survey the effects of the warmth of the light – wether it be the sun on the steel bow of a dry-docked ship or the taillights of a car on a wet road. Armed with his knife, Sokquon shows with bravura immediacy and directness of the weighty medium.
Not an intellectual careerist, all too often supplied in bohemian affluence by foundation grants, Sokquon has remained serious from the beginning, leaving behind many peers who have had a few good years before returning to the Advertising profession. Living from exhibition to exhibition, he is disciplined, feisty, and wise. The particular landscapes that move Sokquon continue to move people in the Airport Lounges, Hotels, Corporate Headquarters, and homes around the world, where his works hang.
Opening Wednesday 14th October, 6-8pm.
Exhibition continues until Sunday 25th October
Gallery open | Wednesday–Saturday 10am–5pm | Sunday 11am–4pm