Darryl Rogers reviewed in Brisbane Show

Article written by Sophie Rose (first published on jugglers.org.au)

On entering numinous- i, one is invited into a space of sanctified quietness. A series of large, busy, Primitive-esque paintings by David Howard encircle a suspended black box, containing Darryl Roger’s hologram piece, Sehnsucht; and so, pagan visions surround the tabernacle. A sense of ritual undoubtedly informs both sets of work, yet is manifested quite differently in each. Howard gives a wild, uncontained spilling-forward of figures: as if spirits have seeped from the canvas into the gallery space. The shapes seem to balloon before one’s eyes: the image is full of gaseous intensity. Rogers provides a far more internal experience. One must enter his space; the art becomes a kind of confession-box and, as such, the surrounding area of the gallery begins to concave in on the box. The coupling of these two artists is something like the coming together of the voodoo and the sacramental, to create a meta-spiritualism.