Carl Warner Dark Mirror 2 – 26 May 2018
Dark Mirror In the Eighteenth century it was the height of fashion for tourists to venture out into a landscape turn their back to the scene and view it in a dark pocket mirror known as a Claude glass. Nature was better understood as a picture, a thing to be defined, shaped and limited by technology. The convex mirror brought a whole vista into view, the darkened tint reduced the light to the tones of paint and moving the mirror shaped the landscape allowing the particular arrangement of formations that made a picture to the liking of the observer. The diversion was so popular that guidebooks gave stations, places from which the best view could be obtained, including one in the middle of a lake. The painter John Glover brought his Claude glass with him when he moved to Van Diemen's Land to assist in seeing and transcribing the Australian scene. What was an Arcadian filter when used in Britain was a European filter in Australia, a look back to a time before. Use of the Claude glass fell away and it is little known now, but we still turn to and from nature using tools to alter it to our liking. A smart phone is almost the same size as a Claude glass and the darkened screen can act as a similar mirror and our touristic impulses to see a scene ‘at its best’ are unchanged. I went on my own tour to the ruins of Port Arthur and the splendor of the Pieman river in Tasmania with thoughts of the glass and an interest in how we, as a species, attempt to set ourselves outside of the natural. We constantly turn to and away from nature confusing the real with the ideal, thinking of how it should be rather than as it is. Carl Warner April 2018
Dark Mirror 1, 2018 Archival ink on acrylic 40 x 60 cm Edition of 5 $2,200
Dark Mirror 2, 2018 Archival ink on acrylic 40 x 60 cm Edition of 5 $2,200
Dark Mirror 3, 2018 Archival ink on acrylic 40 x 60 cm Edition of 5 $2,200
Dark Mirror 4, 2018 Archival ink on acrylic 40 x 60 cm Edition of 5 $2,200
Dark Mirror 5, 2018 Archival ink on acrylic 60 x 40 cm Edition of 5 $2,200
Dark Mirror 6, 2018 Archival ink on acrylic 60 x 40 cm Edition of 5 $2,200
Dark Mirror 7, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 8, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 9, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 10, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 11, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 12, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 13, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 14, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 15, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Dark Mirror 16, 2018 Archival ink on acrylic 10 x 15 cm Edition of 5 $550
Carl Warner CV
Qualifica(ons Master of Visual Arts, Griffith University, 2008 Exhibi(on History Exhibi(on History Solo Exhibi1ons 2017 s<ll/silent Jan Manton Art, Brisbane 2015 Darkness Visible Jan Manton Art, Brisbane 2014 I will support you for ever and ever Jan Manton Art, Brisbane 2011 The Remembered Present Jan Manton Art, Brisbane 2009 Oblivion Jan Manton Art, Brisbane Oblivious Kris<an Pithie Gallery, Melbourne 2007 Disturbance Jan Manton Art, Brisbane 2006 Sensing the surface University of Queensland Art Museum, Brisbane nothingtoseehear Chris<ne Abrahams Gallery, Melbourne nothingtoseehear Jan Manton Art, Brisbane 2005 The Surface Esa Jäske Gallery, Sydney 2004 The Surface (projec<on) University of Queensland Art Museum, Brisbane Surface nature is Esa Jäske Gallery, Sydney 2003 under Chris<ne Abrahams Gallery, Melbourne 2002 they all come back SoapBox Gallery, Brisbane under (projec<on) Ins<tute of Modern Art, Brisbane Colour Field SoapBox Gallery, Brisbane 2001 Carl Warner Chris<ne Abrahams Gallery, Melbourne 1999 vessel Milburn Gallery, Brisbane a concrete pasture Cairns Regional Gallery, Cairns 1998 a concrete pasture University of Queensland Art Museum, Brisbane 1997 detritu Milburn Gallery, Brisbane 1995 sense Centre for Contemporary Photography, Melbourne Dogge_ St Studios, Brisbane Cairns Regional Gallery, Cairns ma_er without meaning Michael Burke Gallery, Brisbane garden The Vine Gallery, Brisbane 1992 overwhatwecreatewehavenocontrol Ipswich Regional Gallery, Ipswich 1991 industrial series III &IV Photographers Gallery, Brisbane 1990 gardening and chaos Photographers Gallery, Brisbane 1989 Tosca Photographers Gallery, Brisbane 1988 photographs Photographers Gallery, Brisbane
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Group Exhibi1ons 2016 Story Bridge Museum of Brisbane, Brisbane, Curator,. Denham, J. Sugar Spin Queensland Art Gallery | Gallery of Modern Art, Brisbane, Curator, Kirrihi Barlow, G. 2015 Light Play University of Queensland Art Museum, Brisbane, Curator, Li_ley, S. 2014 Silver Museum of Brisbane, Brisbane, Curator, Armistead, J. 2011 Wai<ng for Asylum University of Queensland Art Museum, Brisbane, Curators, Ahrens, P., Helmrich, M. 2010 Collec<on Redland Art Gallery, Cleveland, Queensland., Curator, Bain,E. The Ipswich House Ipswich Art Gallery, Ipswich, Curator, Beckmann, M. The State We’re In University of Queensland Art Museum, Brisbane, Curator, Craig, G. 2009 Same, same but different Kris<an Pithie Gallery, Melbourne 2007 2020 Museum Brisbane, Brisbane, Curator, McBride, F. 2005 Idiosyncrasy Queensland Centre for Photography, Brisbane, Curators, Hawker, R., Kubler, A. The Lake Taipei Ar<st Village, Taipei on the unseen Esa Jaske Gallery, Sydney 2004 Sleight Redland Art Gallery, Cleveland, Queensland. Surface Queensland Centre for Photography, Brisbane Seeing the Collec<on University of Queensland Art Museum, Brisbane 2003 Inaugural Exhibi<on Esa Jäske Gallery, Sydney Botanica Artspace Mackay, Mackay falling in love SoapBox Gallery, Brisbane 2000 For<tude Queensland Art Gallery, Brisbane Curators, Bosse, J., Walsh, J.. minimal Australian Centre for Photography, Sydney, Curator, Forster, A. Flash Ins<tute of Modern Art, Brisbane , Curator, Snelling, M. 1999 Retro Version Centre for Contemporary Art Space, Canberra Newcastle University Art Museum The Art of Inclusion, Queensland Art Gallery, Brisbane, Curator Kirker, A 1998 Baroque Ins<tute of Modern Art, Brisbane, Curator, Worfold, C. Transvisual Museum and Galleries Queensland Touring Exhibi<on Curator, S. 1997 Run Milburn Gallery, Brisbane 1996 The Power to Move Queensland Art Gallery, Brisbane, Curators, Grant, K., Kirker, A., Williamson, C. 1993 Outside looking in Queensland Art Gallery, Brisbane Curator, Williamson, C. Arts Grants Development Grant, Arts Queensland. Provided for travel to meet with American ar<sts Doug and Mike Starn and par<cipate in a Master class with them in Melbourne. 1994 Project Grant, Arts Queensland. Provided to tour the body of work sense and produce an accompanying catalogue. 1994 Major Grant, Arts Queensland. Towards costs of the produc<on and publica<on of a mul< author catalogue to accompany the 10year survey exhibi<on “Sensing the Surface’ at the University of Queensland Art Museum. 2004 New Work grant, Australia Council. To cover the costs of travel to London and Tokyo to research new methods in the produc<on of delicate photographic material for use in public art. 2002
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