Melbourne desktop drawing
"The work investigates the visual interpretation of history. It contrasts history experienced by the individual as a subjective accumulation of events with other allegorical pictorial traditions linked to master narratives. Research motifs are the place of the subject and the role of witnessing. The work examines the reformulation of vertical pictorial space into a horizontal narrative ground. It examines how the art object integrates into the viewer's experience and considers how site and time construct public and private memory. The exhibition, Greg Creek: The Allegorical Imperative, placed in context and dialogue a range of painting and drawing works which illustrate his ongoing research into relations between political and personal histories, satire, narrative structure and visual languages. The project situates the artefacts of drawing process in an installation context that uses spatial extension and duration to engage the viewer's sense of private incidence in a public space. The work is related to the drawing installation projects of Raymond Pettibon (Contemporary Fine Arts, Berlin, 2008) and Kerry James Marshall (Documenta, kassell, 2007) where drawing styles from the cartoon, through incident to the finished render are employed. Commissioned by ACCA, Kay Campbell, Executive Director, said, '.. the second of our major commissions for the large hall.. the Melbourne Desktop drawing.. Greg's drawing joins Susan Norrie's Undertow as a major achievement made possible by ACCA under the artistic direction of Juliana Engberg.' The accompanying catalogue includes an interpretative essay by Juliana Engberg (2003), 'History, Heresey, Hearsay: Greg Creek's Melbourne Desktop Drawing, The Allegorical Imperative: Greg Creek's Slow Homecoming, ACCA, Melb. ISBN 0947220978. Published reviews include; Melbourne Herald-Sun 17/9/2003, Melbourne Herald-Sun 8/9/2003, Melbourne Age 20/8/2003, ABC Radio National 31/8/2003; Melbourne Age 23/8/2003, Financial Review 2/8/2003."