Melbourne desktop drawing

The work investigates the visual interpretation of history. It contrasts history experienced by the individual as a subjective accumulation of events with other allegorical pictorial traditions linked to master narratives. Research motifs are the place of the subject and the role of witnessing. The work examines the reformulation of vertical pictorial space into a horizontal narrative ground. It examines how the art object integrates into the viewer's experience and considers how site and time construct public and private memory.
The exhibition, Greg Creek: The Allegorical Imperative, placed in context and dialogue a range of painting and drawing works which illustrate his ongoing research into relations between political and personal histories, satire, narrative structure and visual languages. The project situates the artefacts of drawing process in an installation context that uses spatial extension and duration to engage the viewer's sense of private incidence in a public space.
The work is related to the drawing installation projects of Raymond Pettibon (Contemporary Fine Arts, Berlin, 2008) and Kerry James Marshall (Documenta, kassell, 2007) where drawing styles from the cartoon, through incident to the finished render are employed.
Commissioned by ACCA, Kay Campbell, Executive Director, said, '.. the second of our major commissions for the large hall.. the Melbourne Desktop drawing.. Greg's drawing joins Susan Norrie's Undertow as a major achievement made possible by ACCA under the artistic direction of Juliana Engberg.'
The accompanying catalogue includes an interpretative essay by Juliana Engberg (2003), 'History, Heresey, Hearsay: Greg Creek's Melbourne Desktop Drawing, The Allegorical Imperative: Greg Creek's Slow Homecoming, ACCA, Melb. ISBN 0947220978. Published reviews include; Melbourne Herald-Sun 17/9/2003, Melbourne Herald-Sun 8/9/2003, Melbourne Age 20/8/2003, ABC Radio National 31/8/2003; Melbourne Age 23/8/2003, Financial Review 2/8/2003.

该项研究聚焦于历史的视觉阐释。研究将个体以主观事件累积形式所体悟的历史，与依附于宏大叙事的寓言式图像传统进行对比，核心议题为主体的在场性与见证者的角色。该项研究探讨了如何将垂直图像空间重构为横向叙事基底，同时分析艺术作品如何融入观者的感知体验，并探讨场域与时间如何建构公共与私人记忆。
展览《格雷格·克里克：寓言的必然性》（Greg Creek: The Allegorical Imperative）以语境铺陈与对话式展陈的方式展出了一系列绘画与素描作品，这些作品展现了作者针对政治与个人历史的关联、讽刺手法、叙事结构以及视觉语言所开展的持续性研究。本展览将素描创作过程的实物作品置入装置艺术语境，通过空间延展与时间跨度，引导观者感知公共空间中的私人事件体验。
该项研究与雷蒙德·佩蒂本（Raymond Pettibon，柏林当代艺术画廊，2008）以及克里·詹姆斯·马歇尔（Kerry James Marshall，卡塞尔文献展（Documenta），卡塞尔，2007）的素描装置项目具有关联性，后者均采用了从卡通风格、即兴速写直至最终成稿的多元素描手法。
该项目由澳大利亚当代艺术中心（ACCA）委托，时任执行总监凯·坎贝尔（Kay Campbell）表示："……这是我们为大型展厅推出的第二项重要委托创作项目……墨尔本桌面素描项目……格雷格的素描作品与苏珊·诺里的《暗流（Undertow）》一同，成为朱利安娜·恩贝格（Juliana Engberg）担任艺术总监期间，ACCA促成的重要艺术成果。"
随展画册收录了朱利安娜·恩贝格2003年撰写的阐释文章《历史、异端与传闻：格雷格·克里克的墨尔本桌面素描》，对应展览为《寓言的必然性：格雷格·克里克的缓慢归乡》，举办方为澳大利亚当代艺术中心墨尔本分馆，ISBN编号为0947220978。已发表的相关评论包括：《墨尔本先驱太阳报》2003年9月17日、2003年9月8日刊文，《墨尔本时代报》2003年8月20日、2003年8月23日刊文，澳大利亚广播公司国家电台2003年8月31日报道，以及《金融评论》2003年8月2日刊文。