|The true image: Veronica, 1996|
A Fine Line is not an empty or superficial tribute to the late artist, academic and critic, Colin Richards, who unexpectedly died earlier this year. This may be because it wasn’t conceived as a commemoration of his practice; presented by the Origins Centre, it is associated with Body Knowledge: Medicine and the Humanities in Conversation, a conference hosted by WiSER. Curated by his widow, the renowned artist Penny Siopis, this exhibition traces, to use the title, a refined line from his work as a medical illustrator, to other forms of artistic illustration, to his visual translations of Samuel Beckett’s Endgame, to the conceptual games he played as he pursued a fascination for the relationship between texts and images. In so doing the collection exposes (one of) the core concerns that drove his practice, and how it evolved. In other words it captures the heartbeat of his artistic spirit.
It’s easy to see how Richards fell into the illustrative mode; the precision and accuracy of his lines clearly made him an ideal candidate for rendering the interior of the human body into illustrations to accompany medical texts. A collection of some of these works are on display in a glass cabinet; they are unsigned and anonymous but bear the markers of his obsessive eye for detail – and of course, his ability to render impossibly fine lines, though he would push this talent much further when he transitioned to art making.
Another cabinet presents more narrative illustrations for books, demonstrating how Richards began to use his skills in more artistic realms before he became an active artist, where presumably accuracy was no longer necessary and interpretation or translation opened up new possibilities. Central to the exhibition is a display of notebooks and papers that present handwritten notes by Richards, where he meditates on the similarities between words and visuals, debunking the notion that these disciplines occupied antithetical positions. The “cult of immediacy” isn’t particular to the visual arts, he asserts.
“A drawn line can be vulnerable to second thoughts as much as any word or concatenation of words.”
In the same text he goes on to deny the spontaneity thought to be inherent to drawing – “drawing makes a grave of experience”. It’s an idea that resonates with writing, a discipline which similarly can only ever relay lived-reality in retrospect and perhaps through its excavation of it, digs a deeper “grave”.
These musings confirm Richards nuanced understanding of writing, an interest that extended beyond the discipline simply prompting visual expression. For he, too, had a way with words, contributing to books and art historical discourses in which he reversed his gaze, translating or engaging with images via texts. It is a pity that some of this work wasn’t on display, or acknowledged in some way on this show, as it would give a more complete picture of how thoroughly he was immersed in both writing and image production and the relationship between the two.
This fixation might have been rooted in a complex attached to illustration; the belief that it functions as a straight, dispassionate translation of texts or ideas - that it is not art. This would have been further exacerbated by the popularity of conceptualism, where ideas and texts were privileged over technical finesse, and the ability to render such “fine lines” might have been obviated. This might be why Richards argued that local conceptual-driven works evinced an interest in materiality.