The new exhibition at the sumptuous Casa Labia Gallery showcases two apparently disparate artists: Eric Judd’s reverent study of aloes and seascapes is at first glance diametrically opposed to the opaque abstracts of Anthony Abbott.
It is in the devotion to the sensual aspects of form and its emotive inner echoes where the line between substance and nuance becomes gloriously blurred.
Judd’s quiet reflections on the water of boats tethered in harbours, when aligned with his studies of the channeled leaves and tiny teeth of the aggressive aloe, reveal an erotic devotion with the elemental nuances of matter and its counterfoil the abstract beauty, a devotion that lingers in the minutiae of the components which combine to manifest the object.
Abbot’s vision, by contrast, is of the harmony of the undefined, where almost distinctive yet amorphous shapes fade into a collage of colour and suggestion. If Judd’s exultation of recognized form is a distinctive language which needs little translation, it is in the sublime suggestiveness of opacity where Abott finds whispers of a distant melody.
Mystery, chance and inner grace form the substrate of Judd’s Interplay body of work, while the Reflections homage becomes the embodiment of the dream with which Abott teases our senses.
Two flavours of the same magic combine to soothe and heal the soul within the walls of the pearl that is the Casa Labia, while outside its walls the sea sings its secret song.
Anthony Abbott’s Interplay and Eric Judd’s Reflections in Water and on Aloes run concurently at the Casa Labia until 7 September 2014.