Savage Beauty - The Art of Bruce Armstrong
Museum of Modern Art at Heide until September 26, 1999
{John Marshall}

A must-see show, Bruce Armstrong's Savage Beauty at Heide finally cements this sculptor's place in Australian art. Although a relatively young artist, Armstrong has over the last two decades produced a large, strong body of work instantly recognisable for its style, its display of sculptural intuition and freedom to enjoy the creative process. Neither decorative nor trite, the work in this show is a breath of fresh air for anyone feeling weighed down by the need for art to explain the meaning of life, the universe and everything, much to the expense of any visual experience.


Bruce Armstrong, 'Blockhead' 1985-86

Here is sculpture inspired by worldly issues, but most importantly the actual art came first and foremost, reaffirming that what we create has to stand on its own two feet as art before it addresses the bigger issues. The greatest pleasure from this show comes from the pure marvelling of form and expression. A heartfelt reaction that is sometimes better enjoyed without too many words.

Wood, and particularly red gum is Armstrong's beloved medium. Here is an artist who has consistently and persistently worked with the same material knowing all along that its potential could never be exhausted but would always reveal new and interesting possibilities. I know it sounds extremely passe but truth to the materials is still at the heart of sculpture and Armstrong is most definitely faithful to this maxim. Logs in their shape produce images in me, he says. I look into the bark and see compelling and preposterous things. My main problem is being able to contain these amorous feelings towards the logs in order to be able to work on them.(1)

Armstrong reveals the inherent quality of wood whilst injecting his own visions, creating a balance between a rawness and an intrinsic beauty - hence the title of the show, Savage Beauty. His two-dimensional work is a revelation as well and as a friend commented - it makes you want to draw. This response is great compliment indeed.

Beyond the purely aesthetic qualities of Armstrong's work there is a wealth of ideas and themes. A fascination with other cultures and their myths is recurrent throughout the exhibition. Inspiration is found in Native American stories, ancient Egypt, as well as the Icelandic Sagas from the 13th Century. There is also an interest in the role sculpture has and could have in architectural design. These are important themes for a full understanding of Armstrong's work but it was disappointing that one critic needed this in order to commend the work. Peter Timms (The Age) had to apologise for having ignored the artist until now. How it is possible to ignore such a prominent Melbourne artist for so long is beyond me.

Nevertheless, what Timms had seen of Armstrong's work, namely the N.G.V.'s guardian figures, he considered to be full of character and rather fun, but lightweight (conceptually, of course, not physically). He goes on to say they seemed essentially decorative rather than profound. But having seen this show, Timms admits to feeling ashamed that an artist of such power and convictions should have escaped my attention for so long. (2) Timms then spends the rest of the article referring to the themes of the work, of how this enlarges our world view and of the role of history and myths. Scant attention is paid to the visual excellence of the works and so it would appear that the only thing art requires is subject matter that is profound. We can throw all ideas about aesthetics out the window. Fortunately, there are artists such as Armstrong who still believe in art's ability to affect the senses before we have had a chance to apply any logic to it.

If there is any criticism of Savage Beauty it is the sheer number of works on display. I found it too crowded and if the cream of the crop only had been displayed more attention could be directed to appreciating each work fully. It would have been good to gain a better sense of the development of the works over the years by exhibiting in a more chronological order. This is one artist who has slowly but surely followed his calling rather than jumping from place to place.

Nevertheless, it is a great show that inspires us to enjoy what we work at and to work at what we enjoy. It does not have to have a Big Bang Theory.

1: Letter from Armstrong to Greg Pryor, November 3, 1995, Savage Beauty catalogue, p.19, Museum of Modern Art at Heide.
2: Armstrong takes one giant step.., The Age, August 11, 1999.
(Photograph taken by Bruce Armstrong)

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