Ranna ® Bio Info
THROUGH CRITICS' EYES - SELECTED EXCERPTS TO 2000 A.D.
Culling from a rich range of references ... Lachlan's work is well-informed by ideas. ... Yet ideas never overpower the visual integrity of each piece. ... [It]... explores the profound while serving as a portal to beauty. (Kennelly, E., 2000, Washington D.C.. Catalogue essay for "Island, Continent", Ranna's 2000 exhibition in Washington D.C. Kennelly has written for the Washington Times, and writes for Art & Auction, Art & Antiques, and ARTnews.) e.g. Gallery 3 or Gallery 5.
The calligraphic styles and uses of refractive and metallic media reveal energy paths from the artist's hand to depict movement, into, through, and beyond states of being. (Gallagher, J., 1998. Link to full review #1.)
... Ranna Lachlan's exhibition ... clearly demonstrates that she is an artist extremely skilled in the use of other philosophies and artforms in her own art practice. ... The works ... at first seem totally unintelligible, like ancient Japanese calligraphy or even pure abstract painting. On peering closer one can see familiar letters and words emerging, forcing the viewer to contemplate. This is a show where you should take the time to sit down and think. (Addlington, B. 1998. Link to full review #2.) _____Gallery 4.
... Ranna Lachlan's oeuvre is extensive and sensorially expansive. ... The contemplation of the work is a serious synaesthetic experience and under the right circumstances, the experience of the work moves the viewer out of his/her body in a manner which is both exciting and disconcerting. (Ruinard, E., 1998, Walking into Light, catalog essay, Perc Tucker Gallery, Townsville, Australia.) ____Gallery 2.
She "... has threaded together an extraordinarily diverse range of sources .... The references are wonderfully rich, and terrain across quite disparate specializations is traversed with great attention to accuracy and detail. ... Her research and thought processes within the studio are fascinating." (Paroissien, L. 1995. Then director of Museum of Contemporary Art, Sydney, Australia; Doctoral review.)
... the new gallery director Ross Searle presents ... works by young artist Ranna ... [which] challenge the public with a difficult and intellectually ambitious installation, which on top of that is also well executed. (Bock, A., 1986, The Advertiser Newspaper, May 15, Townsville, Australia.)
Though the public at large may have a bit to chew on with this uncompromising kind of art, the choice [of this exhibition] was a lucky one: it combined a consistent and demanding concept with excellent draftsmanship. (Bock, A., 1986, Courier Mail, May 31, Brisbane, Queensland, Australia. Link to full review 3.)) _____Gallery 5
With the originality that one hopes for in work by young artists, Ranna ... has used camp stretchers for her successful "Laid Out in State" mixed media paintings. Her paint forms ritual clottings on skeletal forms. (Woolcock, P., 1985, "Hot Stuff at the Institute [of Modern Art]", Courier Mail, March 27, Brisbane, Australia.) _____Gallery 7
IN HER OWN WORDS
No matter what, whether life is horror or sweet, the work must be beautiful and, at least some of the time, mysterious. (Ranna® [Lachlan, R-L.], excerpt from statement written 2000.)
There is something shared between skin and mind. One is the material projection of the other, the shadow mind. Tears in the fabric of one allow us to see through the barrier of the other. (Ranna® [Lachlan, R-L.]., 1998, excerpt from statement written 2000.) _____Gallery 3
... I rail against the vicious double bind in which living beings are placed. We are hurled into embodiment, draped in a mantle of skin/s... The continental Indians call life "Lila", the play of the Lord, staged by the divine for "His" own entertainment. What kind of being is entertained by the suffering of living beings? (Ranna® [Lachlan, R-L.]., excerpt from statement written 2000.) _____Gallery 5
Embodiment is the human predicament. Under my hands appears a painting of humans hurled into skin, into embodiment, [into, out of, or past a window of astral blue] they are free-falling (down or up?) from a broken lifeline, unsupported, and half formed, poor beautiful things - light-beings surrounded and pressed down upon by a field of shadow mind. What will happen to them? (Ranna® [Lachlan, R-L.], excerpt from statement written 2000.) ____Gallery 5
In some pieces, the crushed paper also evokes ... other subtle references to Asian experience inherent in the shape of the characters, including imperceptible action and unstated awareness. ... The positioning of the crushed paper to leave broad cracks or striations up the works relates to how feeling seeps into the cracks in oneself. ...(Ranna® [Lachlan, R-L.], 1998, statement in Essence of Memory: Unspoken Territory and the Kami Way, Pinnacles Gallery, Australia.) ____ Gallery 4.
This exhibition is underpinned by an ancient, fundamental Indian premise that sound and light are one and explores [a variety of] Indian textual descriptions of mystical realms. ... The paintings also explore light as subject... The music is based strictly upon the colors and brush marks in the paintings. (Ranna® [Lachlan, R-L.], 1995, statement in Homages to Chimerae, James Cook University Theater Space, Townsville, Australia.) ___Gallery 2.
In addition to the obvious exploration of the various parts of the figure, this series of works correlates to the use of a twelve tone music system... The reference to myth in the title of the exhibition is due to the double edged play I am making on the word 'myth', ... concerning mythological significance of the figure ... and certain myths about the body in our culture ... (Ranna® [Lachlan, R-L.], 1986, statement in Myth, Woman, Song, Perc Tucker Gallery, Australia.) ____Gallery 5
REVIEWS, WRITINGS TO 2000