Donald Lindblad et son chien Donald Lindblad and His Dog
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Vie des arts
Donald Lindblad et son chien
Donald Lindblad and His Dog
Karl MacKeeman
Volume 20, Number 82, Spring 1976
URI: https://id.erudit.org/iderudit/55025ac
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Publisher(s)
La Société La Vie des Arts
ISSN
0042-5435 (print)
1923-3183 (digital)
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MacKeeman, K. (1976). Donald Lindblad et son chien / Donald Lindblad and His
Dog. Vie des arts, 20(82), 56–92.
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L'art qui se fait
"Une chaîne, à laquelle le chien est attaché, Chacune des deux peintures de chien est
est jointe, au centre de la toile, à un bâton et,
plus loin, à un pinceau qui se trouve être l'os
à moelle préféré du chien. Ce pinceau est relié
à un autre bâton auquel est fixé un crayon-
Donald composée de trois panneaux d'environ neuf
pieds de hauteur sur trois de largeur. Le pre-
mier panneau n'est pas modifié, et une décla-
ration à cet effet, écrite à la main, figure au
Lindblad
feutre.» C'est ainsi que l'artiste décrit sa façon haut de chacun d'eux. Le deuxième panneau
de peindre, à laquelle collabore son chien contient une modification, coupée ou pliée.
fidèle, Thud, originaire comme lui de Bass Un compte rendu détaillé des opérations se
River, en Nouvelle-Ecosse. Il continue sa des- trouve aussi en haut du panneau. Le troisième
cription en expliquant comment ils contribuent panneau comporte un dessin des modifications
tous deux à la production et au contrôle des apportées et, de nouveau, dans le haut, une
traces produites sur des panneaux de toile de description complète. De cette façon, un
neuf pieds. Le chien, dans ses tentatives pour procédé fondé sur le hasard est soumis à une
s'emparer du pinceau, fait des marques sur la modification de la forme, ou encore, selon les
toile. Les allées et venues qui résultent de ce propres mots de l'artiste, «Pollock est mis en
jeu de poursuite et de souque à la corde, sont regard d'un système linguistique à la Sol
automatiquement inscrites par le crayon. Le Lewitt».
bout de feutre exprime la vitesse par des traits Le centre de la galerie était occupé par un
longs et légers, et une lutte serrée par une assemblage de feuilles de contre-plaqué de
concentration de traits sur des points précis. quatre pieds sur quatre soutenu partiellement
En somme, il enregistre graphiquement toutes par deux murs parallèles et formant une sorte
les phases de la partie. Il n'y a, ici, aucun de château de cartes. Lindblad ne réunit pas
souci d'expression de soi comme cela se passe de façon permanente les composantes de sa
quand Vartiste possède le contrôle du pinceau sculpture sur plancher. Il n'apporte aucune
et transcrit ses émotions en appliquant de la modification à ses morceaux de contre-plaqué.
peinture sur une toile. Dans le cas présent, « «,'
>"* en hommage à l'action de la machine sur un
en quelque sorte, les actes qui résultent des morceau de bois. En tant que produit manu-
gambades du chien. facturé, le contre-plaqué tire son existence
Les peintures de chien figurent parmi les d'une matière organique naturelle qui est
plus récents ouvrages de Donald Lindblad der- réduite en pièces et soumise ensuite à diverses
nièrement exposés à la Owens Gallery de opérations. Cet assemblage se composait de
l'Université Mount Allison, à Sackville, au quarante-huit morceaux de bois naturel modifié
par la technologie et formait un corridor qui
et son chien
Nouveau-Brunswick. Deux grandes peintures,
au centre desquelles étaient fixés des agran- allait s'élargissant à partir du centre de la
dissements photographiques, occupaient un salle.
mur, à gauche de l'entrée. Sur l'une d'elles, la Des pièces murales en acétate de cellulose,
photo montre Thud, le chien de l'artiste; sur mesurant toutes environ cinq pieds sur cinq,
l'autre, le chien et son maître à l'œuvre. Lind- figuraient aussi dans cette exposition. Elles
blad est né à Alton, dans l'Illinois, et a étudié semblent prendre la suite d'ouvrages en papier
à l'Institut d'Art du Kansas avant de s'établir à présentant des effets d'ombre exposes en
Halifax, en 1969. Au Canada, il a fréquenté le 1973. La déformation produite par l'enroule-
Nova Scotia College of Art and Design jusqu'en ment du matériau et par son stockage dans
1972. cet état constitue, en l'occurrence, le facteur
L'emploi analytique des mots «modifié» et commun. Une déformation identique pouvait
«non modifié» revient constamment dans les se voir dans des feuilles de papier à aquarelle
conversations de l'artiste, et les mots eux- exposées antérieurement à Dalhousie. Les
mêmes sont souvent intégrés aux peintures. Karl MacKeeman coins du papier se relevaient à peu près de la
36
L'art qui se fait
même manière quand le centre des quatre de matériau se fonde souvent sur certaines
côtés du papier était broché sur le mur. Le qualités inhérentes ou implicites que possède
contour des ombres projetées par les courbes intrinsèquement ce matériau. C'est pour cette
des coins du papier — qui mesurait également raison qu'il semble hésiter à mutiler la surface
cinq pieds sur cinq — était reporté au pastel en y traçant conventionnellement des lignes.
sur le papier. Ceci produisait une sorte de L'entaillage paraît être la façon puriste de
dessin d'ombre. Dans la présente exposition, dessiner une ligne, la seule alternative dispo-
le procédé est en quelque sorte amoindri. Les nible pour modifier la surface d'une manière
ombres, qui se dessinent maintenant en formes pure.
légères, sont, comme il se doit, indiquées Chaque feuille carrée d'acétate est, de gau-
seulement sur certaines parties de l'ouvrage che à droite, l'objet d'une entaille qui est suc-
et sur ses bords. Cette fois-ci, elles sont re- cessivement de plus en plus longue sur cha-
portées à la craie hors des lignes de la surface. cune des feuilles jusqu'à ce que l'entaille ris-
Il y a là une transition sensible dans le passage que de séparer la feuille en deux. Quand cela
du papier à aquarelle au plastique synthé- menace d'arriver à une entaille partant du
tique. Les deux médiums gardent leur ten- haut, les entailles sont pratiquées en partant
dance naturelle à se courber, et le même phé- du bas et des deux côtés. A mesure que cha-
nomène d'enroulement est conservé. Cet que entaille avance, l'acétate se replie sur
abandon d'un médium traditionnel, comme le elle-même en formant d'intéressantes auges
papier à aquarelle, ne doit pas être négligé en forme de V qui semblent dégager autour
puisqu'il paraît découler du souci particulier d'elles un effluve symphonique. A l'exposition,
de l'artiste pour ses matériaux. Diabolique- un effet d'expansion et de réduction était per-
ment, Lindbland, semble-t-il, emploie un ma- ceptible quand on suivait de près le collage
tériau conventionnel à rencontre de son usage sur toute la longueur et sur toute la largeur de
normal et soumet des matériaux très nouveaux la salle.
à des modifications de forme. Il impose une Les autres ouvrages exposés comprenaient,
sorte de diminution de conformation non seu- sur un mur et au plafond, un assemblage de
lement au matériau qu'il utilise, mais à tous languettes de toile déchirée. Le bord des om-
les aspects de l'environnement de l'espace bres formées par les effilochages du matériau
qu'il couvre. Ceci est évident dans un ouvrage étaient dessinés au crayon sur la surface. Du-
comme celui qui vient d'être décrit, qui occu- rant toute l'exposition, ces dessins étaient mo-
pait deux murs dans une grande salle rec- difiés de temps à autre, et ces changements
tangulaire. Dans son ensemble, il produisait un étaient indiqués sur la toile. Un collage de gra-
effet visuel comparable à un panorama en vures sur bois, vivement colorées et fortement
plastique, chatoyant et invisible, s'étendant sur intégrées, de manière à ne former qu'une
toute la longueur de la salle. N'eût été de la seule grande pièce, faisait contraste avec les
réflexion de l'éclairage sur les surfaces autres ouvrages. Ces gravures étaient de na-
courbes du matériau, il était, à première vue, ture presque primitive à cause de leurs com-
impossible de le distinguer sur les murs cou- positions modulaires abstraites en fort reliefs
verts d'un gros canevas de couleur avoine. rouges, verts, jaunes et bleus. Elles repré-
Chaque section avait été modifiée particulière- sentent un autre aspect de l'engagement de
1. Donald LINDBLAD.
ment par des entailles successives. Ce procé- Le chien fidèle Thud. Lindbald envers le matériau traditionnel et ses
dé découle d'une pratique d'art que Linblad a possibilités d'utilisation.
utilisée antérieurement. Dans d'autres exposi- 2. Panneau modifié et non modifié.
tions, on avait déjà pu voir l'entaillage du ma- Karl MacKeeman, Directeur de la Galerie Anna
3. Assemblage de feuilles de contre-plaqué.
tériau par des tailles parallèles ou obliques. Leonowens, Halifax.
Ce matériau pouvait être de la toile à peindre, 4. Modification de la surface d'une manière pure.
(Traduction de Geneviève Bazin)
du papier ou même du papier hygiénique.
Lindblad est un puriste du matériau. Son choix 5. Procédé fondé sur le hasard et soumis à une
modification de la forme.
VQ
English Original Text, p. 91
\ -
— % ,.
57
early in 1949 initiated twin solo exhibitions by Alfred Pellan's self-admitted attachment for The Museum's collection of Quebec con-
contemporary artists — budding creators, then an art based on the figurative is rarely in doubt temporary art has grown meaningfully each
only novices, who since have achieved fame. in the whole of this entire œuvre. His Jardin year but since 1963, it has been characterized
Exhibitions during 1956, for example, included volcanique, acquired by the Museum shortly by vigorous rejuvenation. Thirteen years ago,
the names of Jean-Paul Riopelle, Louis Belzile, after it was executed in 1960, is undoubtedly Mr. and Mrs. Samuel Bronfman agreed to con-
Fernand Toupin, and Pierre Clerk. In 1960, the work wherein he comes closest to abstract tribute an annual amount of $10,000 for the
Micheline Beauchemin, Jean Goguen, Betty expression. Mixing the most diverse elements, purchase of works by young Canadian artists
Goodwin, Jacques Hurtubise, Guido Molinari, such as dry tobacco, silica powder, and poly- aged 35 years or less. Their generosity has
and Claude Tousignant, who to-day rank among fila, in his paints, Pellan fashioned a glittering been maintained ever since and Quebec artists
the better known artists, showed their work. surface which marked the peak of his search have benefited accordingly. Paintings by Lise
More recently, exhibitions staged by the Junior for a form of electric painting — a painting so Gervais, Claude Girard, Jacques Hurtubise,
Associates in the Stable Gallery pursued the intense that it would be "impossible to look at". Jan Menses, Louise Scott; tapestries by Miche-
Museum's interest in new art. In addition, major From Fernand Toupin and Fernand Leduc, line Beauchemin and Fernand Daudelin; and
retrospective exhibitions consecrated the work who were among the early members of the an impressive group of drawings and prints
of the leading Quebec masters in the Museum's Plasticiens, the Museum owns Blanc-Sablons entered the Museum's collection because of
principal galleries: Paul-Émile Borduas in 1962, (1964) and Plans érosions (1968), respectively; the fund.
Jean-Paul Riopelle in 1963, Jean-Paul Lemieux the works are so different from one another that After a long interruption which allowed a
In 1967 and, shortly before the temporary it is difficult to imagine any bonds which might face-lifting and the creation of spaces worthy of
closing of the Museum, Alfred Pellan in 1972. have joined them effectively in a single school. the quality and diversity of its collections, the
The imperative need experienced by Museum Furthermore, the paintings Rectangles et lignes Museum is opening its doors again. Visitors
authorities to express the vitality of Quebec art jaunes (1961) by Guido Molinari, Cercle latin surely will be fascinated to discover under new
also became evident in acquisition policy, (1969) by Claude Tousignant and Rondes rou- lighting the scope and importance of the repre-
making it possible over the years to establish a ges et bleues (1967) by Denis Juneau who, sentation of Quebec's constantly evolving con-
collection which, both in terms of scope and among others representing the second wave of temporary art and, especially, to admire for
in the quality of works it has assembled, marks the movement, share a true affinity, despite a the first time the harvest of the years of
the significance of artistic development in difference in time, in their common search for transition.
Quebec. As early as 1942, the Museum ac- vibratory effects in colour, in expertly measured
quired a small still life by Paul-Émile Borduas and organized spaces.
which he had painted the previous year. It was There are many painters who, though they
the first work by Borduas to be acquired by a may have manifested sympathy for the aesthe-
public institution. tic ideas of one or another of the militant groups
Curators try to keep in close touch with the at some point in their careers, kept a certain
evolution of various trends, making every effort distance in order to pursue their original re- DONALD LINDBLAD AND HIS DOG
to obtain, as soon as they appear, the most search. Their presence in the Museum's collec-
notable works: a painting by Marian Scott tion testifies to the validity of their efforts and Karl MacKEEMAN
executed in 1942, another by Maurice Raymond the wealth of their contribution. Jacques de
dated 1943, a 1954 painting by Fernand Leduc, Tonnancour is represented by three paintings "A chain attached to the dog is staked from
a 1969 sculpture by Ulysse Comtois were ac- evoking an equal number of facets of his vast the centre (of the canvas) to a brush, which is
quired, for example, within a few months of production. Trilobé, executed in 1966, master- his favorite chewy. Attached to the brush is
their creation. When, with the passing of time, fully expresses a new orientation. Jean Mc- another stick with a magic-marker attached to
serious shortcomings are observed in the Ewen, Charles Gagnon, Yves Gaucher, Jean it". This is the artist's description of the paint-
representation of certain periods or, more Dallaire, Albert Dumouchel and Jean-Paul Le- ing methods he had used in collaboration with
accurately, of certain artists, a search begins mieux, among many others, each have at least his faithful dog, Thud, both of Bass River,
without any hesitation whatsoever in order to two of their works in a collection which em- Nova Scotia. He goes on to describe how they
fill the gaps. Alfred Pellan's Les Pensées of the braces the great majority of Quebec artists of contribute to and control the marks made on
years 1935-40 filled a regrettable void in 1956. any significance. the nine-foot canvas sections. The dog, in his
The same is true of Riopelle's Autriche, painted Though painting predominates the contem- attempt to gain control and possession of the
in 1954, which entered the Museum's collection porary collection as a whole, the other disci- brush, causes marks to be made on the canvas.
in 1963; of a 1930 abstract drawing by Brandt- plines, particularly sculpture and graphics, are This movement of playing chase and tug-o-war
ner which was purchased in 1970; of a 1948 in no way neglected. The 1959 acquisition of on the canvas is expressed automatically by
Cosgrove panel, acquired in 1961. Waiting People by Anne Kahane, Robert Rous- the attached marker. The felt tip expresses
As a result of such concerted efforts, the sil's Composition and an untiltled work by Ar- speed in longer and lighter marks, and tight
Museum's Quebec collection not only makes mand Vaillancourt formed the nucleus of this agitation where the lines are concentrated in
it possible to reconstitute a panorama of the collection. Ten years later, it was enriched areas. In short, it records graphically all the
most meaningful movements of Quebec art but significantly through the addition of works by movements of the game. There is no concern
often also enables the viewer to rediscover how Henry Saxe, Serge Tousignant, Ulysse Comtois, here with 'self-expression' as with 'the artist
artists, and especially their works, avoid the François Dallégret, and Hugh Leroy. Daudelin, controlling the brush directly' and emotionally
labels one tends to place on them too readily. Hayvaert, Trudeau, Gnass and Bonet also fig- applying paint to the surface. In this case the
Just as the Automatist credo fails to explain all ure prominently in it. There are few monumental artist sets off a series of events which cause
of Borduas' œuvre, neither can the concept of works but creation of a long-sought sculpture a painting to happen and also express some
Plasticien painting imprison within a narrow garden suggests the expansion of this body of record of those events as performed in canine
framework all the painters sometimes linked work in the near future. frolic.
to it, by near or far, because of their formal, The art of printmaking assumed major im- The 'dog paintings' represent some of the
preferably geometric, concerns. portance in Montreal because of the talent of most recent work of Donald Lindblad, shown
A range of carefully chosen paintings by the late teacher Albert Dumouchel. He fostered at the Owens Art Gallery at Mount Allison Uni-
Borduas illustrates with remarkable clarity the among his disciples and students a love for versity, Sackville, New Brunswick. The large
principal phases in the evolution of his pictoral patient, meticulous work, leading to their dis- paintings with laminated photographs in the
expression. From the 1941 Nature morte to the covery of the infinite possibilities of the various centre occupied one wall to the left of the
1942 gouache, including the austere portrait graphic techniques. The proliferation of re- entrance. The photo-enlargements depict on
of Mme G. (1941), one sees the progressive search and production studios, in Quebec as one canvas a portrait of Thud, the artist's dog,
abandonment of figurative pretexts. The 1947 well as in Montreal, underlines the success of and on the other a picture of the dog and
Carquois fleuris solidifies surrealist intuition his efforts. They are reflected in the Museum master in action.
and the automatic gesture; these gain in scope by the considerable growth of the print collec- Donald Lindblad was born in Alton, Illinois,
in Les Signes s'envolent (1953) and Le Jardin tion during the last decade. The master himself, and studied art at Kansas City Art Institute
sous la neige (1954), opening the way to sub- is represented by more than a score of works before coming to Halifax in 1969. Here he
conscious impulses. The artist's great lucidity while hundreds of linocuts, serigraphs, etchings attended The Nova Scotia College of Art and
finally imposes itself with renewed intensity in and lithographs illustrate the variety and orig- Design until 1972.
the 1957 Étoile noire, a painting soberly con- inality of those who continued in his wake, The analytical use of the words "modified"
structed on the spatial relationships of modu- including Richard Lacroix, Roland Giguère, and "unmodified" reoccurs in conversation
lations of white, black and brown, bringing Gérard Tremblay, Robert Savoie, Gilles Bols- with the artist and the words themselves often
Borduas to the limits of the pictorial phase. vert, and Pierre Ayot. form part of the painting. There are two 'dog
91paintings', each composed of three sections tissue. This artist is a purist in regard to roast pig. It was delicious!" — Martine Erus-
approximately three feet wide. The first part materials. When he finds a material he wishes sard and Paul Hammond).
of each painting is left unmodified and a hand- to work with, it is often for certain inherent and The same authors have already rightly
lettered statement to that effect appears on the implied qualities within the material itself. For emphasized that "for Radovan Kraguly the to-
top edge of each nine-foot vertical section. The this reason he seems hesitant to deface his tem animal still exists." But would not the totem
second section of both paintings contains a surface by the conventional methods of draw- take the form of a boar (of the Ardennes, Gallic,
cutting or folding modification. A detailed ing lines. Cutting seems the purist form of line, etc.) rather than of a pig? Certainly, in Kragu-
description of what has been done also heads the only alternative for a pure alteration of the ly's drawings the central position of the pigs in
this part of both paintings. The third section surface. profile turns them into totems, their mass of fat
contains a drawing modification and again a Each separate square sheet of acetate has and their pointed darts into standards. The pigs
detailed description is included at the top. In a cut line which is successively longer on each are humiliated pagan gods, grotesque now, if
this way a random system is subjected to a sheet from left to right until it seems close to a little disquieting, for they are captured in
systematic form of modification or as in the separating the single sheet into two sheets. cases and cages which guillotine them; they
artist's own words: "Pollock meets a Sol Lewitt When this threatened to happen to a cut from are weighed on the scales of a market-econo-
type of linguistic system". the top, it would change then to a cut line from my, poised three by three with shaky cloven feet
The centre of the Gallery was occupied by an the bottom and from boh sides. As each line on wobbling planks, and laid on the operating
assemblage of four by four underlay sheet progressed the acetate curled back upon table, impotent in the face of blue-prints, num-
plywood supported in part by two parallel walls. itself forming interesting " V " troughs that bers and labels. (In the same way, insolent
They were placed with some pieces rising seemed to have a symphonic aura about them. violet ink-marks run between the bristles on the
slightly from the floor at different levels Expanding and diminishing, this was the effect heavy creases of their pig-skin, castrating
unattached by hardware and as vulnerable as if one followed the collage at close range along industrial stamps which mock the animal's
a house of cards. the length and width of the gallery. overflowing vitality, the sexuality of the prim-
Lindblad does not permanently join the com- Other works shown in this exhibition in- itive monster.) Kraguly arouses the pig dormant
ponents of his floor sculpture. He leaves his cluded a wall and ceiling assemblage of torn in us all.
sections of plywood untampered with. The canvas strips. The shadows from the frayed If reassurance is needed, Kraguly might be
material itself seems to impose its presence edges of the material cast shadows that were described as standing at the cross-roads of
upon the viewer as an ironic monument to outlined in pencil on its surface. These were hyperrealism and conceptual art. Of course,
what a machine does to a piece of wood. altered occasionally throughout the duration his methodical, meticulous drawings are hyper-
Plywood exists as a manufactured product of the exhibit and notations were made on realist (however, this attention to detail is far
having its sources in a natural organic sub- the canvas concerning these changes. from being mechanical — witness the careful
stance that is fragmented and processed. A collage of colourful woodcuts, laminated dating which traces the organic development
Forty-eight pieces of technologically modified to form a large single piece, was in direct of these works). They owe nothing to photog-
natural wood forming a corridor that gradually contrast to the other works shown. These prints raphy. Conceptual, perhaps, since they bear
inclines from the centre. were almost primitive in nature with modular captions, the linguistic sign? It might be rel-
The acetate wall-pieces in this exhibit were abstract designs deeply embossed in reds, evant to mention that Kraguly is Velickovic's
all of the same size (approx. 5 x 5 ) and appear greens, yellows and blues. They represent friend and compatriot, and one might seriously
to be an extension of the paper shadow works another side of this artist's involvement with wonder if there is a southern-Slav movement
of a 1973 exhibition. Tension caused by rolling more traditional material and content. within the contemporary international style. Is
the material and storing it in this manner is a conceptual art the logical outcome of the con-
common factor here. This tension existed in frontation of different, and even conflicting,
his water-colour paper shadow pieces at the cultures and languages? All these categories
earlier Dalhousie exhibition. The corners are themselves no more than cages, bars, seals,
curled in almost the same manner when it was RADOVAN D. KRAGULY flails and police cross-ruling, mere Procustean
stapled to the wall in the centre of four sides. beds to contain the evidence of the drawings,
The shadows cast by the curled corners of at once disconcerting and pleasurable. These
the 5' x 5' paper were outlined on the paper By Jean-Loup BOURGET categories are only Olida sausage-machines
with crayon. This resulted in a form of shadow which cut up and can the pig, the pig degener-
drawing. This element is played down to some "I grew up on my parents' farm in a remote ated to pork.
extent with this recent exhibition. Shadows are part of Bosnia and spent much of my time tend- The pig's snout is a swollen, puckered penis;
now reflective light patterns dutifully outlined ing cows, pigs and sheep. Each day in spring what truffle, what apple is it sniffing out? (cf.
in some areas at the edge of the installation. and summer I took the animals out to the Kraguly's series of mezzotint engravings, in
This time they are marked in chalk outside the grazing fields where I stayed with them, and in which a pair of apples has the form and func-
dimension of the surface. There is a material winter carried food to the stables where they tion of a breast); the pig itself, aerodynamic and
transition here, from traditional water-colour were housed. swollen with seed, what does it seek? — No
paper to the synthetic plastic. Both retain the This close and extended vision of the cyclical matter if the pig is a sow. Moreover, it should be
natural tendancy to curl, and the same element nature of life — conjugation, gestation, birth noted that the sow's rows of multiple teats are
of natural tension remains. The change from and death, the inter-dependence of the animals like the she-wolf of the Capitol, a further exam-
traditional material such as water-colour paper and myself with the seasons — provided me ple of the totemic strain. — This energy-packed
is not to be overlooked since it seems to follow with a grammar of perception." cylinder constitutes the core of the white space,
the artist's particular concern with materials. Thus Radovan Kraguly, of Danube peasant- of the multi-dimensional vacuum. In it, highly
Lindblad seems to diabolically use conven- stock and mischievous wit (Danube in a meta- contradictory perspectives are humourously
tional material unconventionally and to impose phorical sense that is, as a glance at the map related to each other, as are the varying thick-
formalistic elements to newer materials. He will show that Bosnia is quite a distance from nesses of the flesh represented. A range
imposes a kind of reductive formalism to not the river; however, the Austro-Hungarian ad- extending from the overabundance of vitality
only the material he is using, but also to the ministration of Bosnia-Herzegovina, and partic- to the thin line of intellectual constructions.
environmental facts of its location. This can be ularly of Sarajevo has established a dialectical Radovan D. Kraguly was born in 1935 in
evidenced in a piece such as the one de- link between the Yugoslav province and the Bosnia (Yugoslavia). Painter, draughtsman,
scribed. It occupied two walls of the large Viennese capital). Even in London, where he engraver, sculptor and teacher, he settled
rectangular room. The visual effect of this has been living since 1962, Kraguly's need to (temporarily?) in Great Britain in 1962. In 1975-
piece as a whole is that of a glimmering in- keep in touch with the soil has led him to set 76, he will be in Yugoslavia (Belgrade). He has
visible plastic panorama, stretching the length roots as far away as Wales where he owns a obtained several awards (the most recent —
of the gallery. But for the flood-light reflection farm. In this way, he is free to continue his 1975 —, the Gold Medal of the Yugoslav Coun-
on the curled surfaces of the material, it would observation of cows, sheep, bulldogs and cil of Engraving, and an international prize at
go unseen against the oatmeal burlap walls above all, of pigs, which seem to be his mas- Graphica Creativa, in Finland) and has parti-
at first glance. Each individual section has cots, totems which he swallows greedily in a cipated in numerous exhibitions, both collec-
been altered by successive cuttings. This pagan eucharist, idols which he burns by slow- tive and individual. 1975 (Jan.-Feb.): Galerie
cutting element in his work also originates in roasting ("on December 9th 1974, Radovan Hécate, 21 rue du Bac, Paris: Plans for 1976:
a previous art habit of his. In other exhibitions Kraguly bought a suckling pig from a butcher. May, la Galerie d'Art (12 place de la Réunion,
this method of cutting parallel or crossing On the same day he made a resin mould of the Mulhouse, Alsace); and a London gallery (to
lines on the face of the material is evident. In pig which was later cast into fiberglass. On be decided).
the past, that has been canvas, paper, or toilet December 10th 1974, eleven people ate the (Translation by Eithne Bourget
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