Betty Collier - review
Betty Collier's formal art training was in Melbourne. Since 1963 she taught at Secondary and Tertiary levels in Ballarat. She retired in 2003.
She names as some of her most important exhibitions since 1980, those with the Association of Sculptors of Victoria, the Contemporary Art Society and a solo exhibition at the Gallery at the Ballarat School of Mines. Her work has attracted a number of awards.
A Scorpion, an Earwig and a Panther between them guard the glass display case. Oxy welded in mild steel and greatly enlarged from life, Scorpion and Earwig have been simplified but not abstracted. Entirely recognisable both in appearance (build) and attitude.
In these and the Panther, the welding creates pattern but does not become decorative in the usual sense. It is not neat or pretty. More dramatic and noble. The simple all over silver colour of the steel, with the construction method - rows of welds repeated - holds the piece together visually and adds strength.
Of the framed and mounted graphics in the wall display, three are in a colour range purple green gold; two are close to monochrome: grey/brown, brown/tan.
Again the shapes depicted are organic, but by no means literal. Rather they have been exploited for their voluptuous forms. Rather yummy and erotic (or is it me?).
Names like 'Forest Burls 1,2 & 3', tell us the origins of the images. 'Devil's Kitchen 1 & 11' are certainly rock formations. In all cases they almost become something else.
Since I like art works to leave me room to develop my own interpretations, these please me.
Without doubt Betty Collier is practiced in her art. At no point is her technique unskilled. At no point is her skill overstated.
- Anita Sinclair
(Extracted from the
Contemporary Art Society Newsletter November - December
2005)
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updated 23 Nov 2005
