Constantine Nicholas’ early works (1992 – 2005) feature uniquely rich and layered works, installations and digital projects. These presented immersed fragments of text and imagery – many cite colonial, First Nations and commercial references which the artist uses to question his identity.
“In the past, themes in my work reflect on other’s truths, historical new, journals, maps and illustrations to present a ‘point of view’ in time, or a reference point that I question. My approach would be to use these references, to print or copy these, then add layers of media, text and continue to physically alter and push the medium to transform it into something other, to the extent of losing the source and its inherent value altogether.
‘Crown Land’ | Acrylic paint on grass. 30m x 40m. Includes 207 First Nations’ place name plaques. Exhibited as part of the National Sculpture Forum, 1995. Parliamentary Circle, Canberra.
In some exhibits I have incorporated the actual exhibition site into the overall work as a part of one piece, like a retail shop front, or an environment to bring added context and layered meaning to the body of work.
See MINT, CROWN LAND and BANK images on this page. I like to give my works functional meaning besides being “just a work of art on a wall“.
“Constantine Nicholas’ rich surface layers have been described as an echo of the opulence of the colonial eras that invite comparison with the richness of today’s capitalism. And the thick gloss finishes enhance the luminosity of gold and silver, creating a striking contrast with the black and sometimes red featured in his art…” Anne-Marie Archer, “Untitled Transactions” State of the Arts newsletter & web
site, May 16, 2005
constantine nicholas 