The right age to start dating
Like Sennoga’s paintings many of the posters in the 100 posters exhibition demonstrate a deep understanding of the canons of aesthetics: management of space, balance, harmony and mastery of media.
Emil Dodov’s handling of geometric shapes and control of chalk coupled with the balancing of colour in ‘Jump! Secondly, like Sennoga’s works some of the designers relied on unconventional symbols to force the beholder to think about inner meaning.
I did not find it easy to access the coded message in the poster titled ‘Basics’ in which Abby Junge depicts a pencil placed on top of a spiral-bound slice of toasted bread.
I must confess nevertheless that these challenges forced me to stop and think carefully and in the process dialogue with the posters rather than casually passing by.
Now, the Institute has a rich collection dating back to the days of Margaret Trowell the founder of Margaret Trowell School of Industrial and Fine Art (MTSIFA).
They do not look beyond numeracy and literacy to admit other forms of knowledge transfer and acquisition.I am however interested in the preference for such symbols.Even none conventional symbols were transformed into pens/pencils as we see in Luca Sorbini’s ‘Weapon’ where a catapult has been transformed into a pen.I thus argue that like Sennoga’s paintings the posters are elitist.They are captioned in elite symbols and languages (mainly English) and are housed in an elite space (the gallery).