Gary Carsley's third solo exhibition at Roslyn Oxley9 Gallery

Exhibition Dates: 18 November – 6 December 1986

"I am", he said "troubled by the pervasive fear that things, the large events in my life are slipping by me in the manner of landscape observed from a train passing by".

She wondered outloud, if the malice and vitriol of their previous encounter had caused the storms that raised the waves that swept away the house where she had taken sanctuary.

His hands were large and only by a very general criteria attractive, however when talking they caused remarkable objects to form in the air momentarily before evanescing.

Her nose, long and full was at its end rather like a flower that periodically threatened to shroud her face in a veil of petals drawn tightly above her lip. "All those years", he sighed "I have sustained you in a garden whose crenellated walls impeeded the waves of debris and clouds of poisonous gas that would otherwise have diminished you; and now, weakened by hunger and homelessness and weary from ceaseless travel you have cast me from my home, kept my children from me and seized the wand by which the commonplace is transformed".

"Your children", she replied, "have had nothing to nourish them save milk I have given them and their garments are woven on my fingers cracked and bleeding from piling up the stones that circulate in this province as currency".

There is, not too many days travel from here an observatory, within it there is a highly polished disc on which there is engraved each your infedilities and each deception is illustrated there, scratched into the patina, glowing in the artificial light produced by the various devices lining the surrounding walls.

"All my vanities" she admitted "are numberless and in all things, I seek some precious scent or rare stone with which I might further adorn myself and my ears are fashioned so, like cups in order to ring from the air some clever phrase that bears repeating".

"Your pictures" she said "are too much concerned with the way things are going; listen to me, leave the present to engineers and horticulturists. Your fantasies of public accountability are inappropriate there are only foreign accents, ornamental distractions and publicity."

"Your lips are trembling slightly and your language is fouling the atmosphere causing clouds in the shapes of griffins and basilisks to coalesce in the polluted air, while in the room there is a distasteful shimmer as the artificial flowers bloom then languish".

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Gary Carsley The transformation of Daphne (1632), 1986; oil paint on canvas; 180 x 240 cm; enquire
The transformation of Daphne (1632), 1986
oil paint on canvas
180 x 240 cm
Gary Carsley The transformation of Daphne (1956), 1986; oil paint on canvas; 180 x 240 cm; enquire
The transformation of Daphne (1956), 1986
oil paint on canvas
180 x 240 cm
Gary Carsley The overall tendency and the overhead projector, 1986; oil and enamel paint on canvas; 180 x 240 cm; enquire
The overall tendency and the overhead projector, 1986
oil and enamel paint on canvas
180 x 240 cm
Gary Carsley The window 1, 1986; oil paint on canvas; 76 x 61 cm; enquire
The window 1, 1986
oil paint on canvas
76 x 61 cm
Gary Carsley The window 2, 1986; oil paint on canvas; 76 x 61 cm; enquire
The window 2, 1986
oil paint on canvas
76 x 61 cm
Gary Carsley The long and weak end, 1986; oil and enamel paint on linen; 180 x 210 cm; enquire
The long and weak end, 1986
oil and enamel paint on linen
180 x 210 cm
Gary Carsley The days of amber forming in veins of old trees, 1986; oil and enamel paint on canvas; 180 x 210 cm; enquire
The days of amber forming in veins of old trees, 1986
oil and enamel paint on canvas
180 x 210 cm
Gary Carsley Senora Chachita Carreras, 1986; oil paint on canvas; 45 x 45 cm; enquire
Senora Chachita Carreras, 1986
oil paint on canvas
45 x 45 cm