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Deborah Bower, Natalie Gale & Rachael Macarthur: MoMo (Pink)

Sat & Sun, 12 – 5pm

Preview 3 November, 6 – 8pm

36 Gallery

Pink, a colour multifaceted in appearance and association. This ‘pinky’ show shares three artists’ practices that frequently draw on the colour and its inherently ambivalent nature.

We love it we hate it; we have many, many names for it: flesh, baby, Millennial, Pompadour, candy, blush, rose, dusty, pinkest, Barbie,
punk, hot, salmon, fluorescent… the list goes on.

(MoMo was the Japanese word for the colour peach pink, c. 750CE)

Pink is a seemingly ubiquitous colour when it comes to fashion magazines, which is the major resource material in Natalie Gale’s work. Scanning across Gale’s large and small-scale painterly collage works, pink is on repeat. Evidently past and present trends including the use of pink influences her expanded painting palette. Gale’s work Material 2022 (Ongoing) is a patchwork of paper collage, draped from the wall to floor. This work explores the concepts of sustainability while reflecting upon painting in the expanded field.

Rachael Macarthur‘s paintings are based on memory, attempting to translate feelings and emotions across a variety of painting supports. Colour is an integral part of her work. Both memory and colour are subjective, inchoate, and prone to change. Macarthur’s paintings consider, pink. Colour-mixing pink delivers its tonal possibilities; its scope for shade and hue. Sitting pretty-in-pink, colour combinations elevate and transform in my mind’s eye—brown and pink, orange, and pink, black, and pink, pink, and pink — metamorphosing to a state of becoming and scope for potential.

Working with hand processed black and white film, Deborah Bower uses pink to paint, dye and tone the 16mm film material. Reflecting on the history of early cinema and the practice of colouring film, and the many women who did this. Bower remembers silent films and the role of pink and how it was used to add colour to suggest mood in certain scenes that might be more romantic or dreamy in these first decades of cinema. In addition, thinking about this romantic notion that women applied the paints and dyes onto film because they were seen to have a better sensitivity to colours than men. Moving on 50 + years and then we have colour film. Bower, looking back at these colour films observes pink cropping up in a different way, as deteriorated films are often found with a general pink hue because the cyan and yellow layers fade more than the magenta layer. The pink lives on.