ArtScape Magazine June 2009, Noah Sudarsky
An artist who does do justice to the Earth Mother, and then some, is Australian prodigy Theresa Byrnes, whose "Revolution/Revolve" exhibition went up at Rogue Space just after Armory week. Her collage, assemblage, and tie-dye on paper techniques were a shift from much of the work of this prolific performance artist and painter, who triumphantly filled the Saatchi & Saatchi Gallery in New York three years ago with her gigantic abstractionist tableaus and panels. (Tracy Moffat paid her a vibrant homage that night). Boob Spiral, a mammarian vortex, and Boob Mobile, a cascading nebulae, as well as Time Ate My Mother and Boob & Penny Platter, all recontextualizing the Feminine Principle, with a galactic twist, while similarly using pennies, pences, pesos, and assorted currencies in an abstracted, cosmological vein. The work evokes quasars, resurgence, and the cycles of nature.
"To think within the boundaries of ownership and sale is narrow," Byrnes remarked. "The great circle is moving toward another way of existing, for what is a coin but a fickle disk."
With Byrnes, the shift to a dialectical mounting is already suggested - what Jacques Rancière considered the
negative of the symbolist tradition, where elements dovetail, combining without particular violence ...