An Artist In The Project
March 2013
In 2011, Eric Bridgeman was selected as artist-in-residence at Canada’s Lethbridge University, a location notable in his mind for nothing other than Heath Ledger’s triumph, Brokeback Mountain.
The artist intended to pursue his fascination with masculinity and sexuality expressed through references to sporting culture. This theme had previously found colourful expression in his raucous photographic works parodying Australian football codes. In Lethbridge, Bridgeman intended shifting his analytical gaze to the tough and muscular world of Canadian ice hockey.
Upon arrival, he found himself not in the hip college town he had anticipated, but exiled to the small outpost of Blairmore, two hours from campus. Worse still, the ice hockey season had just ended and he was stranded in a log cabin in the foothills of the Rocky Mountains; an artist-in-residence without a premise.
The stunning exhibition which is the product of the residency betrays none of this initial crisis. Indeed, it is not until one speaks to Bridgeman, whose origins are Papua New Guinean, that the catalyst for his vivid works is revealed. It was an exchange with one of the otherwise impassive inhabitants of the town who referred to him as ‘Blackie’. From that moment the artist’s only companion during his residency, a toy golliwog purchased in Melbourne (and named Heath Ledger), became his muse and the vehicle for expression in his new work.
After weeks of assembling, painting, sewing and constructing a vibrant set comprising security mesh, 44 gallon drums, beer cans and wheelbarrows (painted in the lurid colours of hot pink and cerulean blue), Bridgeman then immersed himself ‘in the project’ by becoming Heath Ledger, the golliwog. By stepping into character, Bridgeman says he “found the ability to work through emotions ranging from anger to despair, love and optimism. I gave in to being the best outsider that I could become.”
The solo exhibition, In the Project, is thoughtfully presented. A daily video diary of the artist in the Canadian studio, condensed to five and a half minutes and played to Beethoven’s Moonlight Sonata, conveys the existential angst which drove this work. Adjacent to it is a series of photographs of Bridgeman in character, works in typically rich palette which express both the boldness and vulnerability of the sitter. Perhaps the highlight is the juxtaposition of two works on opposite walls; one a full-length portrait in which the artist’s gaze meets the viewer’s, the other a floor-to-ceiling bust portrait series of nine works depicting the artist in a range of poses making reference to the adage, ‘see no, hear no, speak no evil’.
By bringing the work together in this way, this exhibition speaks broadly on human behaviour and unpacks some of the conscious choices which are made to live up to expectation, to perform and interact with one another as individuals and groups, as insiders and outsiders.
In The Project shows at Gallerysmith, 170-174 Abbotsford St, North Melbourne, until April 27. Tuesday to Saturday, 11-5pm.
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