Elk: “a self-described introvert looking outwards, working with Domergue, an extrovert looking inwards”.
Dichotomy and difference; similarity and synergy.
Two painters, divergent in practice, subject matter, process and philosophy, whose collaboration produces such synergy precisely because of their respective differences. That is to say a collaboration of dichotomy and difference, similarity and synergy.
Both have pushed their respective practices above and beyond ‘limitation’. Whilst stencilling necessitates a limited colour palette, Elk’s ambitious, complex works are limited in name only, and his precise, detailed compositions have earned him critical acclaim as Australia’s premier stencil artist. His astronauts, however, mark a departure from some of his more unmissably overt political commentary, instead striking a contemplative, existential tone, which compliments Domergue’s work.
Meanwhile, Domergue’s innovative “peeling” process involves the application of pigmented resin directly to carefully chosen urban surfaces, which he gravitates towards. After curing, Domergue peels up these resin works, which bring with them tangible pieces of ground and strata. As with Elk, Domergue’s practice is defined by the nature of the urban environments in which he intervenes to produce his “peelings”. However, his ability to identify compositions in these places means his peelings are limited only by the ground beneath his feet.
Matching Elk’s political subversion, Domergue’s striking compositions subvert landscape painting itself; in the absence of a clearly defined traditional scene, we realise we are looking not at a macro landscape but at a microcosm of the beauty to be found in our everyday surrounds; an eye for beauty that street artists share.