Artist     Anthony Curtis
Title      Aboriginal Echo One, Ewaninga
Date      1990's
object    Painting
Media    oil on Saunders Waterford 300g/m
Size       40.5 x 51cm
Ref          841

Purchased from the RWA 7 Academicians exhibition in 1995

Other websites featuring this artist's work
www.rwa.org.uk/memfrm.htm
www.baacorsham.co.uk
www.bucks21.co.uk
www.modernbritishartists.co.uk

Aboriginal Echo One, Ewaninga
The painter’s work displays ambiguities of scale and imagery. For example, any particular piece can be seen on both cosmic and microscopic scales. He also sees his paintings as embodying time.

The artist travelled in Australia for five months in 1988/89. Aboriginal generation myth includes paintings with a map-like function. In ‘Ewaninga’, the dark aerial view is overlaid by traces of man in brighter dots reminiscent of shell-bursts and stars in the wartime Bristol blackouts (an example of ambiguities of view both of the dots and the very landscape doubling as a night sky). The piece also displays similarities to microscopic images and is part of a series of ‘echoes’.

During the assembling of this archive, In answer to the question 'does this work hold any particular significance to the South West?' Anthony Curtis replied :

'Yes, it is specific in part when seen through the my wartime experience in the Bristol area. I went through the blitz
and, as a cadet, flew from local airfields seeing the world from above. Ewaningg itself is an aboriginal sacred site in
the bush south of Alice Springs in central Australia'.

He frequently uses the words ‘echo’ and ‘fragment’ in titles. There is so much lying at the borders of our apprehension; we delve into our reality only to find such an echo or maybe a fragment.

He once flew a northerly course with sunset approaching from the west and wonders what this dynamic view of light, clouds and landscape might have done for Cotman, Constable and Turner. We are their heirs.

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