Time after Time

Christopher Allen, The Weekend Australian, pp.10-11, 25 June 2016

Gregg’s juxtapositions are primarily intuitive, that is, based on an aesthetic and imaginative response to the images rather than trying, as is so often the case, to force any interpretative straitjacket on to them. Thus Pieter Brueghel’s etching of an Alpine landscape (c. 1555-56) is paired with Polixeni Papapetrou’s whimsical yet poignant photograph of a figure, high on a mountaintop, with a deer’s head. This is perhaps the riskiest pairing in the show, because the highly saturated photograph is so foreign to the linear etching, but the thematic affinity seems to make it just plausible.

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