‘Space Junky: Christian Lock moves with material malleability’ by John Neylon, Adelaide Review

Ever experimenting with material, form and colour, Christian Lock’s Space Junky exhibition feels like the artist is hanging loose, but a sharp creative instinct is present at every turn.
In 1839, French painter Paul Delaroche, on seeing a daguerreotype for the first time, declared, “From today, painting is dead.” Apparently not everyone was listening. While this catch cry has continued to be repeated to the present day, the group most affected, artists who like to paint, just get on with their business. Not that the position painting once occupied as the pre-eminent art form remained unchallenged. The photographic image altered the balance of power by demonstrating that there are other ways of seeing the world. The found object as interpreted by Duchamp et al mounted an even bigger challenge by denying hand crafted ‘authorial’ values associated not only with traditional painting, but photography. Duchamp did spare a thought for the embattled painter. “It’s awfully hard to go on painting … Having done anything, you naturally want to do it again and if you do it again then you know that you’re doing it again and it is not interesting. This is what worries everybody … A painter has more trouble about it than anyone.” Don Judd commented that, “The main thing wrong with painting is that it is a rectangular plane placed flat against the wall. A rectangle is a shape itself; it is obviously the whole shape; it determines and limits the arrangement of whatever is on or inside of it.”

Image: 'The GOAT', 2018, colour pigment, Bio Sap epoxy resin, aluminum composite, expanded PVC thermoplastic, 241 x 261cm