Realistic portrayal is not her concern but rather the arousal of a subliminal, emotional response. The figures occupy an indeterminate space. Both painted surface and human document they have an extraordinary psychological presence. For Cay the configuration of such dolls became emblematic of the topsy-turvy nature of certain episodes that leave one ‘spinning and never really knowing which way is up!’Ĭay’s paintings embrace the figurative expressionist mode. Made of cloth and fused at the hips, the doll’s double countenances represent opposing attitudes: asleep/awake black/white above/below. An avid collector of vintage toys, it was a folkloric, Topsy-Turvy doll that inspired Cay’s rendition of inverted reality. In several paintings there appear figures truncated at the waist and duplicated as if reflected in a murky pond. Behind the visible appearance of things lurks its caricature. The symbolism is therefore oblique and indirect. ‘The head up in the left hand corner brought to mind a Charles Blackman work and I was instantly transported to the rabbit hole – those shifting planes of the unfamiliar where nothing is straightforward.’Īlthough Cay’s paintings, drawings and ceramic sculptures transmute intensely personal substance and experience, she intends them as vehicles to encourage reflection on the human condition. Cay describes the exhibition’s title as suddenly manifesting when contemplating a particular painting in her studio. To view Sunshine Coast-based Veronica Cay’s new series of works is to plummet into such a realm. Stemming from Alice’s Adventures in Wonderland, it refers to a journey through nonsensical situations that become increasingly surreal and disorienting. The term ‘rabbit hole’ is a metaphor for an entry into the unknown. By JRP on in Invitations veronica cay reflections from the rabbit hole
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