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Jo Felber

Concept 3-4-9, 1988 - 1989

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Catalogue number: 7

oxide acrylic on 9 roh cotton duck panels (92 x 92cm each)

278.00 x 278.00

Provenance: The Artist

Exhibited: Chartwell Collection Gallery, Hamilton, New Zealand, 1989; Swiss Artists in Australia 1777-1991, Art Gallery of New South Wales, Sydney, and touring to The George Adams Gallery (Melbourne), Brisbane Civic Art Gallery, Art Gallery of Western Australia, and Tasmanian Museum And Art Gallery, 18 January - 29 September, 1991; Art Basel, 1992 (Janine Mautsch Gallery); Joe Felber: Kontaktraum Auslander (Space of Contact: Foreigner), Contemporary Art Centre of South Australia, Adelaide, 13 June — 13 July, 2014

Literature & references: Barry Pearce, Swiss Artists in Australia 1777-1991, AGNSW, 1991, Exhibition Catalogue: "The youngest in this exhibition of artists of Swiss origins is Joe Felber, a self-taught artist from Lucerne who has lived alternatively in Australia and Europe during the 1980s. Felber has incorporated into his work elements from Aboriginal art as well as the simple, geometric symbols used by artists in the country of his birth." Susanne Wegmann, op cit, p 12 and “Joe Felber bases the origin of his experiment in a world-view definition of the magic of numbers, that is to say, a system whereby the representation of the numbers 3, 4, 7, 9 and 12 achieve different impressions symbolically… With this alphanumerical repertoire, there open up to the artist an immense number of possibilities which can double with the usage of negative and positive combinations. The observer, on the other hand, is confronted with a broad field of lexical items that makes any disagreement with Joe Felber’s pictures even more exciting. A peculiar fascination emerges from these works that radiate promised calmness and stability, so that they can almost be characterised as pictures of meditation… A favourite motif that appears again and again is the ‘amputated’ cross. A square base is divided into three parts both horizontally and vertically. From these derive nine squares, the two upper and outer and outer squares as well as the lower left-hand square, are positively emphasised, that is, they are filled with colour (or glass is engraved on). A negative cross results which is then cut by a diagonal from the upper right corner of the arm of the cross to the lower left corner. The resultant isosceles triangle formed by the diagonal and the edges of the picture is filled with negative and positive triangles. Suddenly one reads in the remaining part of the cross the inverted Arabic number ‘4’.” Mariuccia G. R. Sprenger, op cit, p 100 and see p 101 for an illustration of another work in the series Concept 3-4-7, 1988; Bernice Murphy, Marion Haemmerli, Joe Felber, Kontaktraum: Auslander, CACSA, 2014, Exhibition Catalogue, illus, unpaginated (In this exhibition the work was presented not as illustrated here, but rather as it is stored — with the individual panels face-to-face and back-to-back stacked in three layers, held together with steel straps.)

Note: A similar work from the same period is in the collection of the National Gallery of Victoria: ‘Concept 3-4-7, 1989, gouache on hessian and composition boards, 250 x 409cm overall.

View artwork in Exhibition

Exhibition Catalogue

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2007

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John Peart

1985

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Roger Kemp

c. 1973

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George Johnson

1975

acrylic on canvas, 91.00 x 76.00

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Relationships No 16

George Johnson

1982

oil on canvas, 152.00 x 122.00

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Concept 3-4-9

Jo Felber

1988 - 1989

oxide acrylic on 9 roh cotton duck panels (92 x 92cm each), 278.00 x 278.00

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2014

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Samara Adamson-Pinczewski

2016

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Red Sound

John Vickery

1969

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Grey Construction No. 10

Andrew Christofides

1989

acrylic, card and wood on board, 70.00 x 70.00 x 3.00

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Imprint Image No 4

Jonas Balsaitis

1990

acrylic on canvas, 122.00 x 173.00

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March 6 2003

Geoffrey de Groen

2003

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Leonard Crawford

1958

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Segments in Red

Carl Plate

1970

oil on board, 53.00 x 63.00

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Port of Call

Leonard French

1956

screened paint on board, 51.00 x 61.00

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Sun Tree

David Aspden

c. 1975

acrylic on canvas, 158.00 x 207.00

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Lorri Whiting

1960

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Kim Westcott

2014

drypoint, gouache and indian ink on paper, 118.00 x 88.00

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Untitled

Peter Booth

1975

oil on linen, 44.00 x 35.50

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Untitled

Paul Partos

1979

oil on aluminium, 91.50 x 71.50

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Catalan Series

Trevor Vickers

1981 - 1983

acrylic on canvas on ply, 217.00 x 104.00

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Sort of Arrows

Mike Brown

1973

acrylic on canvas, 88.00 x 88.00

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Leonard Brown

2003

oil on Belgian linen, 151.00 x 122.00

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Untitled Painting

Trevor Vickers

1997

distemper and acrylic on gesso panel, 46.20 x 77.00

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Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist & social comment to installation & conceptually based work.