, Brisbanite, most acclaim as visual artist, currently, one man show at Queensland Art Gallery
titled, “Someone’s Universe: The Art of Eugene Carchesio” October 25, 2008 through February 1, 2009; minimalist watercolor, cool (cold) evaluations of transient nature, and abstracted analytical card-board shamanism. (which I gleaned weakly from wee electrical pictures on my computer’s Internet). Since the beginning, concurrent, music, on tape in the eighties and nineties as D.N.E
, then most notably with Leighton Craig
, and others most musically: The Lost Domain
, The Deadnotes
, through synthesizer and drum machine does mix:
A contrast so high and dissolve so stark, that the memory of what was lost has also been lost, solid and absent, call sans response.
Internalized fainting, as if the physical and audio erosion took place somewhere else and the disintegrated sound mark and/or presence of its loss is not indicated by the process, there are no ghostly remains, instead what is left behind has been incorporated into its self, clean and alone in way that seems less stunted and more the rhythmic twitching, the smooth lump of a vestigial song, well-healed or evolved (in a good way).
Shrinking little toes
A half-the-mix sort of feeling, creates pervasive hermitic coolness in line but not following, the danceable A/C of Hawtin’s Plastikman
, and in similar/oppose to sans the romance of the organic decay in Basinski’s Disintegration Loops
and transparent life forms in Oval’s 94 Diskont
Syconia, a non-ovaric fruitation like the strawberry and fig, the fig an inverted flower filled with fruitlets, the strawberry a swollen flower, the seeds, the fruit.
A strange tension caused by the ripping tones and filters that never give way to a central line or a deeper bass, conjoin with excessive panning that leads to an over emphasis on the x of the x/y axis creating a psychic hammer-head effect inhibiting forward propulsion and jamming the parallax effect of the Z-axis, and in the end, for this Mr. Green Jeans
, limits access to trance, or more academically, ecstasy, which seems entirely in line with the artist’s intentions both visually and musically or maybe the message nature is communicating through the artist is transferred by pure representation?
Trembling leaves and the spin in their falling’s coefficient, the act, the intention, the perception are zeroed out. 7/10 -- Tim Goodwillie (29 October, 2008)