Geoff Kleem’s large color photographs are as antiheroic as contemporary art gets. His two-decade-long commitment to images and objects that avoid almost any decipherable intention, whatever the cost, has yielded a series of exquisitely refined exhibitions and earned widespread respect from other photographers. Nevertheless, he’s perhaps the most underrated artist in Australia. This low profile goes with his chosen territory: camouflage, subtle visual conundrums, skewed conceptualism. In the early ’90s, he made large, indeterminate objects on wheels, later placing them on sleds or wrapping them in shrink-wrap, plastic sheaths, or vinyl, and sometimes photographing them in equally uncanny industrial spaces. He usually painted out these derelict warehouse environments in one color, generally white, sometimes the same hue as that of the “sculptures.” In this way, three-dimensional space
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