Since winning the Adelaide Perry Prize for drawing Ceara Metlikovec has focused her attention entirely on this new exhibition of three major works at Fox Jensen Sydney.
These new works continue her systemic investigations of the cadence and depth of the body’s rhythms – where beyond our pulse we have a deeper modulation and tempo. These inflections are as individuated as any aspect of our physiology. In a sense they measure us, they are an existential meter of our being.
The sensuality and range that Metlikovec achieves with a vertical band of graphite continues to astonish. Pressure added and the surface deepens, held back and the mark is restrained and ghostly. These works are in a sense the most intimate portraits of our actuality.
Metlikovec begins by establishing a field for her procession. This zone is akin to the repeated territories that Agnes Martin mapped out into which she could describe her experience of the relentless horizon. And like Martin the fanaticism that one imagines might support such endeavours, dissolves in the unfolding sensuality. There is little doubt that Metlikovec operates most happily when she is in the “zone”. Nourished by the narcotics of Radiohead and 16th century Sikh Mantras she is capable of maintaining the extraordinary concentration and feel that she demands of herself and that is what make these works so arresting.
Conceived at a scale she has not approached before, these new works feel panoramic, extending beyond our visual periphery, the oscillating cadences radiate in either direction. Despite this increase in scale she has been able to retain her range and nuance, with sensitivity and intimacy.