Avant-garde abundance: the deeply infectious art of Australian artist Justene Williams
For over two decades, Justene Williams has developed a distinctive visual language. Her survey show, Once We Were Mudskippers, is now at the Queensland Art Gallery.
Justene Williams' new survey show, Once We Were Mudskippers, offers a deeply infectious exploration of art's potential through an eclectic mix of references and themes. The exhibition's title, referring to the unique mudskipper fish, provides a powerful visual metaphor that runs throughout the show. This fish, capable of walking on land and breathing air, symbolizes Williams' ability to seamlessly blend seemingly incompatible references from various artistic movements and eras.
Williams, an Australian artist born in 1970, has developed a distinct visual language that draws from historical avant-garde set and costume designs, 1990s grunge DIY aesthetics, and contemporary suburban vernacular. These influences, combined with the inclusion of slimy mudskippers, create a fresh and engaging narrative that is not a radical departure from her previous work, but rather a natural evolution.
One theoretical entry point for the exhibition is the work of German philosopher Walter Benjamin. His unfinished The Arcades Project, a gathering of notes and fragments, mirrors Williams' approach to her art. Rather than meticulously cataloging her sources, Williams allows them to reveal themselves, demonstrating a deep respect for the inherent value of everyday objects and experiences.
Another key theme in the exhibition is the pervasive presence of surveillance in modern life. Circular mirrors, commonly used to eliminate blind spots in pedestrian areas, are scattered throughout the show, highlighting the ways in which surveillance has become an integral part of everyday life. Despite this focus on the darker aspects of contemporary society, Williams' practice remains infused with earnestness and honesty, making it deeply engaging and ultimately uplifting.
Williams' work is deeply rooted in the modernist avant-garde movements of the early 20th century, such as the Russian Futurists and the Bauhaus. She pays homage to these movements through her reimagining of Kazimir Malevich's Strongman costume design from the 1913 opera Victory over the Sun. This reimagining, performed in 2016 with the Sydney Chamber Opera, updates the original design with Futurist Strongwomen, showcasing Williams' ability to blend historical references with contemporary sensibilities.
In a final nod to her artistic influences, Williams incorporates Natalia Goncharova's under-the-sea costumes designed for the 1916 Ballets Russes ballet Sadko. By salvaging and recontextualizing materials from earlier performances and installations, Williams creates new connections between works produced at different points in her career. This approach results in a cohesive and thought-provoking exhibition that invites viewers to reconsider the boundaries of art and its potential for social commentary.
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