Reviews
"Amateurs far from unskilled"
GALLERY WATCH - Clyde Selby Saturday Magazine. August 16 2014 page 22 Art Society of Tasmania 130th Annual exhibition Comment on the painting "Summer Colour" ". . . Robyn Hopcroft's riot of blooms against an intense sky may have been regarded as ungenteel as the revolutionary Fauvists with their penchant for boldly unpredictable colour were not to appear for many decades." |
Fun and mystery served up in fine double mix
"Demi Centurion" - Entrepôt Art Gallery
Gallery Watch with Joerg Andersch
The Mercury - September 1993
Demi Centurion is an exhibition of ceramics by Robyn Hopcroft and prints by Bette Roberts. What the title means would be pure conjecture, but then it's also nice to have a guess.
Title aside, the show is one of the most worthwhile at Entrepôt has given us to date. It's funny, it's serious, it is thought-provoking, and, best of all it leaves you with an air of gentle mystery.
Neither of the artists would have achieved this ambience on her own, and to see it come together so easily, is
a wonderful situation. Most group shows are simply a collection of individuals exhibiting, usually depending a
great deal on the gallery to make the most of the combination.
Unlike her daughter Helen, Robyn Hopcroft is a stranger to viewing audiences but in this exhibition serves us
with a most delightful fare of decorated ceramic work imaginable.
Her concentration on nubility has yielded a marvellous series of plates and pots, everyone a kind of celebration of the human figure.
It is nice to see that Robyn Hopcroft saw fit to involve Ben Brinkhoff in the making of two pots and the collaboration has resulted in an excellent product.
The two chooks in the company of a frolicking nude have a curious air of déjà vu but then, I started life on a farm.
Bette Robert's etchings are a perfect foil to Hopcroft's work, the sombre black and white prints adding the mystery part of the show. Though many of the localities seem familiar, Roberts has managed to create them as settings imbued with an overwhelming feeling of isolation.
Yet it is not a desolating sort of loneliness, its orderliness giving it a sense of being inhabited, but in a state of suspended animation. Roberts has heightened this feeling you her superb sense of pictorial balance, which in turn spills on to the work by Hopcroft, each complementing the other.
"Demi Centurion" - Entrepôt Art Gallery
Gallery Watch with Joerg Andersch
The Mercury - September 1993
Demi Centurion is an exhibition of ceramics by Robyn Hopcroft and prints by Bette Roberts. What the title means would be pure conjecture, but then it's also nice to have a guess.
Title aside, the show is one of the most worthwhile at Entrepôt has given us to date. It's funny, it's serious, it is thought-provoking, and, best of all it leaves you with an air of gentle mystery.
Neither of the artists would have achieved this ambience on her own, and to see it come together so easily, is
a wonderful situation. Most group shows are simply a collection of individuals exhibiting, usually depending a
great deal on the gallery to make the most of the combination.
Unlike her daughter Helen, Robyn Hopcroft is a stranger to viewing audiences but in this exhibition serves us
with a most delightful fare of decorated ceramic work imaginable.
Her concentration on nubility has yielded a marvellous series of plates and pots, everyone a kind of celebration of the human figure.
It is nice to see that Robyn Hopcroft saw fit to involve Ben Brinkhoff in the making of two pots and the collaboration has resulted in an excellent product.
The two chooks in the company of a frolicking nude have a curious air of déjà vu but then, I started life on a farm.
Bette Robert's etchings are a perfect foil to Hopcroft's work, the sombre black and white prints adding the mystery part of the show. Though many of the localities seem familiar, Roberts has managed to create them as settings imbued with an overwhelming feeling of isolation.
Yet it is not a desolating sort of loneliness, its orderliness giving it a sense of being inhabited, but in a state of suspended animation. Roberts has heightened this feeling you her superb sense of pictorial balance, which in turn spills on to the work by Hopcroft, each complementing the other.