(Australia 23 Apr 1964 – )
(Indonesia – )
(Indonesia 1971 – )
(Indonesia – )
(Australia – )
103.7 x 183.0 x 60.5 cm overall:
a - central figures; 80 x 80 x 50 cm
b - flower; 18.7 x 6.3 x 5.8 cm
c - flower; 17.5 x 6 x 5.7 cm
d - flower; 19 x 6 x 5.5 cm
e - flower; 20.6 x 6 x 5.5 cm
f - flower; 16.8 x 6 x 5.7 cm
g - flower; 17 x 6 x 5.7 cm
h - flower; 21 x 5.5 x 6.3 cm
i - flower; 14 x 6 x 5.8 cm
j - flower; 30.5 x 15.6 x 30.5 cm
k - flower; 24 x 10.2 x 10.2 cm
l - flower; 25 x 11 x 11 cm
m - bottom table; 74 x 183 x 60.5 cm
n - top table; 29.7 x 120 x 60.5 cm
o - woven cloth; 60.5 x 122 cm
p - woven mat; 89 x 175 cm
An early Indian painting of Krishna and his consort Radha was the starting point for ‘Everyone no 83’ which shows a pair of lovers cloaked in lotus pedals. Krishna, friend to the heroic Pandawas brothers from the Mahabarata, and an incarnation of the great god Wisnu, has consummated his love for Radha but then, according to Indian sources, went through a period of wanton play with a series of beautiful cowherd girls. Hearing of his infidelity Radha overcomes intense jealousy and in time returns to become his consort and eventually share his divine status. Even without knowing the background of this work, we might look at this representation of idealised love and wonder if all is as it seems, what emotions are the lovers concealing and what will happen when the petals fade and drop?
Wood carver Made Leno, who has worked with Glick on his previous series of sculptures, is a third generation woodcarver from the village of Kemenuh, south of Ubud [Bali]. He learnt his craft at an early age from his father but also attended art school. Thanks to his training in life drawing at art school he has the ability to carve accurate representations according to Glick’s images. Although Leno and Glick are from cultures that could hardly be more different, and without a great deal of common language, a rapport has grown up between these two artists. Glick has also worked closely with two painters, Wayan Darmadi and Bona Kelod and Dewa Tirtayasa from Abianbase. Both are traditional Balinese painting techniques which stress precision and scrupulous attention to detail.
[Extract from catalogue essay by Chris Hill, ‘Punching the Devil’, New works from Rodney Glick's Everyone Series, 2009]
Typically Glick has updated the traditional scared subject matter with contemporary secular figures wearing trainers and wrist bands. The young lovers gaze at each other, embodying the continuities and universal truths of the traditions and mythologies this sculpture evokes, while also suggesting contemporary uncertainties about love, desire and commitment. In working with Balinese sculptors Glick also looks to our nearest Hindu neighbours for collaborators, and brings into play the history of Australia’s fascination with Bali as a place of exotic wonder, carnal delights and hybrid art adapted for Western audiences.
Christopher Hill., Punching the Devil, 'New works from Rodney Glick's Everyone Series', South Jakarta, 2009, v (colour illus.), vi, vii (colour illus.), xvi (colour illus., detail), xvii (colour illus.). Wayan Darmati, Tony van der Hout and Dewa Tirtayasa are pictured sat in front of the work on pg. v; not paginated
John Buckley Gallery, Rodney Glick: 16 March-9 April 2011, 'The Everyone Series', Melbourne, Mar 2011, (colour illus.). Brochure unfolds into a 42.0 x 29.5cm poster featuring 'Everyone No.83'.
John McPhee, Artist Profile, 'Rodney Glick', pg. 82-87, St Leonards, Aug 2013, 87 (colour illus.). plate no. 05; incorrectly titled ‘Everyone No.99’.
Punching the Devil:
'Everyone', Ryan Renshaw Gallery, Australia, 21 Jul 2010–14 Aug 2010
‘The Everybody Series’: