Trevor Vickers, ‘Yellow Hexagon & Red Hexagon’, 1970-1971, Charles Nodrum Gallery

Signature: unsigned

Probably Trevor Vickers, Pinacotheca, Melbourne, 1971;
Trevor Vickers, Charles Nodrum Gallery, 2000, no. 1;
Abstraction III, Charles Nodrum Gallery, November, 2003, no. 19 (at 15,000) was eexx;
Abstraction 18: Further a-Field, 1970s, Charles Nodrum Gallery, 20 September - 13 October, 2018, no. 22

Andrew Gaynor, Allan Willingham, Alex Selenitsch, Untitled Painting, Art Collective WA, Perth, 2016, illus p 42;
see p 11 for installation shots of the c. 1971 exhibition at Pinacotheca where it hung the other way up.
Vickers’ interest… has always been in the way that perception works in life, then consequently in art. And in life, there are simultaneous contradictory interpretations of the same field of stimuli. Academic research into multivalent interpretation, in particular how it might relate to representational systems and language, fixed on some standard figures to illustrate findings: the Necker Cube, the Schröder Stairs and Thierry’s Figure. All of these found their way into books on art… The Necker Cube [as in this work] …. can be viewed as the front or back corner (both top and bottom) of the isometric drawing of a cube. It appears to flip back and forth in and out of the picture plane, but is always a complete cube… [At any reading of the hexagon-based paintings like the above] there are noticeable ‘left-over’ parts which then insist on being included, thus de-stabilising that reading.” Selenitsch, op. cit. p 43

The Artist

About Trevor Vickers