Linton Meagher “Resinates”

March 12, 2008 at 3:21 am (Uncategorized)

Oh my aching head. Remember that post long ago, back when I had a momentary lapse of self-knowledge and pledged to give up drinking? Well, it was all lies. LIES. I have no discipline, I have no willpower, I have no limits. Wheel in the beverage cart.

The reason I was out drinking on a Tuesday night – something only first year uni students should ever attempt – was the exhibition opening at Maunsell Wickes (at Barry Stern Galleries, 19 Glenmore Rd, Paddington, just off Oxford St). Linton Meagher’s ‘resinate’ exhibition is showing now until Sunday 30 March, and I suggest you get along for a look quick smart.

I love Linton’s work. I find it really erotic and refined. His works have an undeniable curiosity factor because of the materials he favours (more about that in a moment), but they’re fascinating for the fluidity and beauty they achieve precisely through his use of very cold, clinical tools.

Bullet shells. Scalpels. Capsules. US dollar bills. Resin. Perspex. Not exactly what you’d imagine as instruments of grace and whimsy, are they? And yet that’s exactly what Linton achieves. There’s a very seductive sense of movement; a gorgeous, almost choreographic sensuality to works like ‘into the void’ (oil on scalpel blades in resin on perspex 64 x 82cm, $3,750) and ‘follow-up’ (oil on scalpel blades in resin on perspex 64 x 82cm, $3,750). I find it all completely fascinating. Perverse and ironic on the one hand, as in ‘the race,’ depicting a spinning mouse wheel made out of rolls of US currency ($5,750), and then regal and enchanting on the other, as in ‘eimir’ (named for his lovely girlfriend and now muse).

The truly wild thing about Linton is that he’s also a full-time medical practitioner. Oh yeah. This guy is an over-achiever, all right. We know Linton (only a little) through a good friend of ours who’s also a doctor; they’ve been friends for years, so we’ve been lucky enough to meet Linton and become acquainted with his work through our mutual friend Matt. And I just can’t tell you how humbling it is looking around a gallery and seeing Linton’s work and attempting to calculate the number of hours in his day. These works are meticulous, precision is a key component of their composition, so I can only assume Linton doesn’t waste time like the rest of us. He simply can’t be idling away any time at all and still be producing this body of work and practising medicine full-time and maintaining a functional relationship and getting some sleep each night. He doesn’t even look tired. Maybe that’s what job satisfaction will do for you (although I’m incredibly fulfilled, and I’m confident that today, I look like shit). And there’s a nice material symmetry there between the work Linton does as a doctor and the work he creates as an artist. Scalpels and capsules help heal and medicate (although both can also be instruments of destruction), and there’s something very soothing about their reincarnation as objects of art under Linton’s care and – of course – in his remarkably steady doctor’s hands.

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4 Comments

  1. linton said,

    Hi Di,

    Thanks for that! You have a very elegant way of capturing what I am trying to get across in my artwork!

    See you soon,

    Linton

  2. doctordi said,

    Well, I’m glad to know I wasn’t wildly off-base in my interpretation! Best of luck with the exhibition, Linton, and I look forward to the next one.

  3. Oyster said,

    That was so sycophantic. . .do you have any remedies for gag reflex? because mine is working overtime.

  4. DoctorDi said,

    More than three years later, it’s interesting to come back and read this post now your unfavorable comment has brought me here, ‘Oyster.’ And you know what? I kind of agree I laid it on pretty thick… It’s a very uncritical, unacademic response to Linton’s work. But then… I wasn’t claiming or trying to present anything else. I like Linton, I liked his show.

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