One for the Poolroom

Defining ‘the Australian identity’ has long been a point of contention within our great country. There have been many solid attempts throughout the short history of Australian visual culture – though none have come as close as certain gems of the Australian film industry that we all know and love; The Castle and Muriel’s Wedding. It’s no surprise then that collaborative art duo Clark Beaumont have chosen these films as the point around which their current video-centric exhibition, She’ll Be Right, is focussed. Currently installed at Boxcopy (an artist-run initiative with just one room to their name), She’ll Be Right presents a refreshing – and amusing – foray into the politics of identity formation and production.

Buzz words they may be, but the notion of identity formation and production is extremely relevant within contemporary Australian society. As inhabitants of a relatively young country, still grappling to find their place in a world embroiled with years of culture and history, we Australians can become heavily concerned with labelling, organising and, in some cases, manufacturing an identity that is truly unique. Films like The Castle and Muriel’s Wedding take the banality of suburban society and re-imagine it into themes which suggest endearment and pride. Clark Beaumont have embraced this phenomenon, selecting audio snippets of each movie and re-creating the scenes within a modern context. Using their own bodies, they assume the role of lead characters – juxtaposing the original footage with their comically mismatched reproductions, expertly represented through the artists’ nuanced movements and facial expressions. Four video works are displayed within the exhibition space, working symbiotically to create a narrative of interpersonal and quasi-national relations. 

There is an irony in Clark Beaumont’s work – evident through their choice of audio excerpts. When dealing with films as well-known and quotable as The Castle and Muriel’s Wedding, it can be difficult to separate oneself from phrases such as “straight to the pool room” or “you’re terrible Muriel”, which are now heavily embedded in Australian meme-culture. Nevertheless, Clark Beaumont subvert common perceptions through the depiction of scenes containing few or no recognisable quotes. It is interesting to note, despite this, the still-apparent familiarity within the tones and mannerisms each video pieces displays – drawing attention to the roundedness of these particular identity constructions and revealing an inherent truth valuable to any true Australian. Through the repetition of not-so-quotable quotes (“over my head?”/”you have lost faith!”), Clark Beaumont explore this tension between the known and unknown – thus illuminating the condition of identity construction through visual culture. These phrases are assigned importance through their inclusion within the works and yet, through continual reiteration are stripped of all poignancy – returned to the banality from which they originated. 

She’ll Be Right serves as a delightful reminder that identity constructs need not be feared, but rather embraced. Clark Beaumont have produced an outlet through which the general public may re-examine their view on the Australian identity in order to work towards a future of nationwide understanding concerning the issue. 

She’ll Be Right will remain at Boxcopy until October 20. No excuses – go see it today. You won’t be disappointed.

This is certainly one for the poolroom.