In this juxtaposition of burned cloth doilies with illustrations and texts from medical case histories, Arthur McIntyre intended to shock the viewer with unconventional materials that could be considered unappealing or ugly. The work is from a larger group of collaged drawings and paintings centred on the dualities of the human condition: birth and death, light and dark, survival and decay.
Collage became important to McIntyre when he was living in Paris in 1975. Surrounded by the complex layered fabric of that historic city, and with first-hand exposure to the works of the dadaists, French surrealists and contemporary collagists, he was prompted to explore the possibilities of this technique. Seeing parallels between the ‘living death’ of the city and the human condition, he felt that collage could provide a theatrically potent and compelling means of expression.
watercolour, ink with collage of medical textbook pages, burnt cotton doilies, photograph, others papers and leaf, on white paper on card
60.7 x 50.8 cm cardboard
Signature & date
Signed and dated l.r. black ink "AMc '75".
Not on display
© Estate of Arthur McIntyre
Referenced in 4 publications
Daniel Mudie Cunningham, Arthur McIntyre: bad blood 1960-2000, 14, 16, 27 (colour illus.).
Peter Phillips, The Sydney Morning Herald, "Challenge to art world a cry in the dark', pg. 30, Sydney, 05 Dec 2003, 30. Obituary of Arthur McIntyre, artist 1945-2003 in 'This Life' section, edited by Suzy Baldwin.
Andrew Sayers, Contemporary Australian collage and its origins, 'The modern collage in Australia', pg. 29-38, Roseville, 1990, 36, 131.
Art and Australia [vol. 13, no. 4] Autumn: April - June 1976, "Exhibition commentary", pg. 33-34, Sydney, 1976, 34 (illus.).