http://libraryinthesky.org/?bioeser=conocer-y-aprender-prepa-en-linea&aa1=c1 Invited onboard his ‘spirit vessel’ to travel with him upriver, Joshua Yeldham takes us on an intimate journey along the Hawkesbury, into his inner world of prayers and secret offerings. As much a passage through time as in consciousness, this new work draws its energy from the fresh and vital connectivity of water. The stark seclusion of the desert is replaced by the thriving kinship of the river. With bird-guides in tow, we are passengers and spectators privy to a kind of sacred theatre, set within the watery domain of an attentive, poetic adventurer. In search of blessings and hidden powers, this river has become his personal source of ancient knowledge and a living connection to the natural world. Yeldham’s work is animated, almost shamanistic in its intentions, promising to cure dislocation and find hope in a tangible sense of place. His visual ‘cycle play’ engages eternal themes of life and death, change and constancy, darkness and light, accessed through a process of private contemplation. Referencing fertility rites and devotional ceremonies inspired by Eastern mystical traditions, this artist articulates an ongoing metaphoric dialogue with the forces of nature, allowing us to experience art as a cleansing process, using a poignant form of visual eloquence to which we can relate.
go From ground level, flying overhead, even underwater to catch a glimpse of nature’s churning wheels, we see a palimpsest of imagery reflecting the spirit of this spectacular coastal country and its shadowy prima material where a generous river runs and snakes. Gum trees flex their sinuous limbs and optimistic mangroves send out sentinel roots into the light. Yeldham imagines plant shoots as lovers cradling, oyster plots as welcoming uterine beds and birds as spirit guides. We see amoebas, seedlings, placentas, embryos in their amniotic oases, water nymphs; a myriad of forms flourishing in these individual experiments in renewal and growth. Narration of these images, and his active efforts to cultivate their interconnecting meanings, ensures this ‘waterman’ is harvesting as directly as the oyster farmers themselves. His figures overlap, shapes unfold, fragment and intersect in continuous succession. The result is a series of beautifully rhythmic, idealized lines stitched onto interchangeable colour planes; deep Prussian blue for the lower river, burnt umber for the murky upper regions. All of which seems to defy the elusiveness of time and insist on the fleeting miracle of synchronicity.
http://celebritysex.cz/?triores=who-is-harry-styles-currently-dating-2018&664=a6 Instead of winged omens of death, as lamented in the 1928 ‘Death Bird of Colo River’ legend, Yeldham’s birds foretell the mysterious cycles of life and rebirth. As navigational beacons, their stares portend not doom, but nature’s inexorable wisdom and the artist channels their secrets into his river tales.
forex spärra kort His paintings are studies in meditation from the porthole of awareness, opening onto a panorama of inner culture. As splendid topographic illustrations, they are quite literally stories; each arising from the metabolised, communicative energy of an artist as translator, capturing thought in one medium to free its potential in another. This continuum of line work is applied like tapestry, paralleling the depth of field found in nature’s details.
follow site He is simultaneously focused on microcosmic details, such as the leaf venation of the lilies at House Boat Bay, and a macrocosmic perspective like the geography of Portland Reach. Created from memory, there is a shifting of foreground and background defining his vision of the oneness and reciprocity of reality. His templates from nature’s book of knowledge are etched on clay boards, like transcripts of fading memories, with pictorial phrases that run into each other in a free flowing exercise.
Yeldham’s visual style, in its fluidity and concerns, is associative to the masters of the modern landscape, Aboriginal dot painting and ancient calligraphy, his textile-anatomy of expression, essentially an unfolding of oneself. His sculptures and jigsaw panel carvings, depicting mud crabs, water currents, rock surfaces, animals, even energy lines, are as much his visual poetry as a commentary on the fragility and tenacity of life itself. The carved tree trunks in his ‘studio forest’ continue their indigenous story in the hands of this artist and emerge as the ultimate feminine archetypes in an eternal symmetry of sensuality.
Ultimately, Yeldham is concerned with chronicling that freedom from time and space that makes way for a new birth of self, where obstacles, limitations, and fears begin to die in the fabric that wends its way through the stories of our lives. Tracing emotional landscapes with any precision requires a particular sensitivity to the joys and struggles of the human condition. To see them mirrored in the very environment which surrounds us is to enjoy a rare and heightened communion with one and the other. Yeldham’s art contains the kind of narrative that invites reflection and provides the very pretext for the stillness required to achieve it. Profound and intense personal experiences engender the development of a spiritual context to his painting, enlivened by a virtual documentary of personal prayers, as much as by an empathetic eye for colour, texture and form; always with deliberate, meditational devotion.
Hawkesbury River: Motherland (2008) catalogue essay by Rosa Maria Falvo