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“What was to go on canvas was not a picture but an event”, said critic Harold Rosenberg in reference to gestural paintings. This, in essence, introduces Cale De Iser’s work. Personal, social and economic upheavals and its downfalls appear in his cross-disciplinary practice. Wealth and its implications, health as strength or weakness, material as power in its absence or presence, all translates to form a thought provoking collection of work.


De Iser’s use of material and its commentary, is a nod to the 1960’s Arte Povera movement. He often relies on material, used skillfully, to provide a narrative. By juxtaposing materials, on canvas in sculpture or photography, his work commands a dynamic presence.


Mark making, as in moulding and melting of material, fine lines, impressions, dents, white space and textures, are a recurring approach in De Iser’s practice. It is this detail that draws attention to the less obvious, the forgetful, silent comment.


In his approach, De Iser attempts a cohesive narrative, a social commentary, by pairing down “the dichotomy between art and life”. The result is less mutating, less threatening but implicitly fragile.


Text by Mary George, Curator

‘No 22’ ink on paper, 14 x 14 cm, 2005

‘Close to Me’ mixed media on paper, mounted on board, 58.5 x 42 cm, 2007

‘‘Untitled 2’ mixed media on canvas, 25.1 x 25.4 cm, 2013

‘‘Inception of the World ’ C-type print,  80 x 80 cm, 2013