TYPICALLY, football and art are thought to occupy different cultural spheres.
Theo Tremblay’s “Almost Ethnic”, which resembles a tribal mask crafted from a rained-on, mud-soaked and sun-dried football.
Questioning such truisms is “Footy Fever”, an exhibition presently showing at the Canberra Contemporary Arts Space, that explores the varying relationships artists have with their favourite football codes, including Aussie Rules, Rugby League, Rugby Union, Soccer, and Wheelchair Rugby.
It is perhaps apt to showcase an event of this nature and at this time; after all, finals season – and the mass hysteria that it inevitably generates – is fast approaching.
“Footy Fever”, which includes work by indigenous and non-indigenous artists, is also timely for it occurs within the context of a national debate regarding the ugly, deep-seated crowd booing and racial prejudice directed at the indigenous footballer (and Australian of the Year) Adam Goodes. Indeed, “Goodsey”, as he is affectionately known, receives a dedication in the catalogue and is generally well represented.
For instance, Julian Laffan’s woodcut, ink and gouache piece “White Noise”, and Alex Asch’s mixed media work feature depictions of this controversial AFL star.
Mariana Del Castillo’s “Confessions of a Footy Head”.
Working with similar material is Theo Tremblay’s striking piece “Almost Ethnic”, which resembles a tribal mask crafted from a rained-on, mud-soaked and sun-dried football.
As we see clearly in this exhibition, football (in whatever shape or form it may take) is deeply-loved – yet at times ruthlessly divisive. Just like art, it is integral to the cultural identity of Australia – possessing the power to both lift us up and cast us down.
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