Annunciation is based on classic concept of religious annunciation, but with a different meaning which is related to the theme of ''Garden of Skin''; a group exhibition of some artists that have worked on the subject of skin and its relationship with nature. The skin is our most perceptible organ and through it, we know the world. It is knowledge of contact and pleasure which has infinite shades of the perception of the way and sexuality.
In this garden built as ''still nature'', the apparent reality (that is to say still nature), is misrepresented  by some dystopian symbols which recall the sense of touch and sexuality: a true annunciation in every way. There could be, however, another truth: a male sexual organ which observes the scene from top to right where a garden tower wraps a syntactic female body. It's a fake garden made by real plant elements and parts of the body of an asexual doll. The whole picture has been submitted to a visual trial of induced cancellation. The coloured spots are the ''footprint'' left by the recording of gaze pretty much an intense attention through the sight. The result is a partial (incomplete) cancellation of the initial photographic images.

The garden is a constructed space that exists in almost every culture as a site of mental and physical sustenance. In part, the garden is a location of aesthetic creativity, expressing a human desire to control impulses that are uncanny, emotive responses to an environment we cannot fully understand. Like the landscape outside the gates of the garden our bodies are not separate from this space, simply an aspect of it. It is in this way that each of the artists in GARDEN OF SKIN explore the social, sensual and poetic aspects of the landscapes in which their bodies inhabit and are subject too. 
The skin of plants, of animals and of the earth is the first physical location one witnesses the symptoms of misuse and disease. The vulnerability of this surface can be metaphorically understood in each artist’s work, regardless of medium as an aesthetic epidermis, presented to the naked eye of the viewer. It is the exterior that counts in this context; and not superficially. Much of the work in this exhibition revels in the beauty of texture, colour, form and ornamentation, coupled with a depth of narrative and seriousness subverting the interpretation of the ‘decorative’ as non-functional or superfluous.
As cultivators in the context of the white cube, or in this case, the more domestic setting of Angus-Hughes Gallery, a space emerges for the intersection of ideas that informs a cross pollination of meaning. We as humans experience our environment in several key phenomenological ways: through scent, sight, sound, taste and touch. This exhibition features work from artists in Australia, Canada, India, Italy, Mexico, the UK and the US, each revealing an articulation of these experiential views as vastly different, both physically and politically; ranging in topic from sexuality and gender to race, the effects of colonialism, ideas of embodiment, ecology and aesthetics. (Zachari Logan, Curator).

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