Regulars readers will need no introduction to the wonderful Australian artist Anna Di Mezza, whose uncanny and compelling Surrealistic paintings of a retro parallel dimension have featured many times here (Double Take, Questions & Answers with Anna Di Mezza, Evolution and Transience). 2017 has been a busy and productive year for Anna and I am delighted to showcase her latest postcards from a none too distant Twilight Zone.
As well as experimenting with colour reversals of existing paintings (the subject of a future post), Anna has produced a fine batch of new paintings that expand upon recurring motifs and throw her obsessions into sharp relief. The mysterious crystal formation makes a reappearance in both The Dark Ages, where immaculately coiffed (does anyone do 60’s hairstyles as well as Ms Di Mezza?) ladies participate in an inexplicable séance around the transparent totem, and Eternal. The Messenger sees a return to a vibrant, day-glo Pop Art colour palette with a Futurist handling of motion that makes for a memorably bold image.
The remaining two paintings featured are the startling Blind Privilege and Convenience, with their vivid and visceral representation of cuts of meat. It is hard not to detect a sharp satirical edge in both paintings, especially in the juxtaposition of the witty title of Convenience with the image of the unwinnable (have you ever won? have you ever seen anyone win?) fun-house claw machine dangling over slabs of raw meat while the young girl looks on with an expression of bound to be disappointed anticipation.