Wednesday, June 17, 2009

Go Font Urself* 2

Go Font Urself* 2 is back for its second show after its popular debut earlier this year. The exhibition, curated by Marty Routledge, kicked off at Peer Gallery in Sydney last Wednesday night and will open tomorrow night in Melbourne at Don't ComeThis time round the fish tank was filled with floating letters and the giant foam Gotham characters survived the last show and were back again to be joined by silver helium alphabet balloons. There was definitely a greater focus on type and lettering compared to the last show with a cohesive collection of both digital, video and hand-generated works from 16 international graphic designers, graffiti artists and typographers. Some of my personal favourite pieces were Peter Sunna's Past/Future featuring beautiful pastel-coloured 3D type, Douglas Lee's 'bathroom-hand-rail-type' Hard and Toko's perfectly symmetrical maze on a T-shaped canvas. 

I had an artwork in this round of the exhibition and have included some process pics in a separate blog post above. While I thought the fine point pen detail in my piece was time-consuming, this was nothing compared to the amazing patience which must have been involved in Old Kent Road's Shanks for Nuthin'. The work was neatly illustrated with lead pencil without a smudge mark in sight. 

While I'm quite fond of Jim Parry's art direction in Dumbo Feather, Pass It On, in the work his pink and grey extruded type didn't really add much interest to the moderately funny play on words of the 1980's Indeep song: Last night a BJ saved my life. I however did quite like Luca Ionescu's lettering and ornaments in Peerless painted on what appeared to be an old-school wooden desk top. The easily recognizable work of Mike Perry was also quite fun and Emil Kozak's Acid Rain was simple yet effective. 

Whether the reference was intentional or not, I'm sure I wasn't the only one who thought of the 'Chk Chk Boom' girl when viewing Nicolas Alexander's work, Boom. Thankfully the absence of the "Chk Chk" and the comic-book-aesthetic appeal will give this artwork popular longevity beyond that of the Sydney bogan who coined the phrase last month. 

Overall the show was a successful and diverse collection of artworks which embraced letterforms as their main mode of expression. Peer Gallery was once again packed with type enthusiasts and gallery-goers who I'm sure – like myself – are looking forward to the next installment of Go Font Urself* later in the year. Hopefully those in Melbourne who see the show this week will be equally impressed. 

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