Dena Kahan's work is a meditation on desire and the gap that exists between fantasy and reality, imagination and execution. She is fascinated by the idea of perfection - the elusive and impossible - be it in the man made or the natural world.
With a professional background in art history and art conservation, her art practice is informed by an awareness of European pictorial and technical traditions. However, in her work classical qualities of balance and perspective are gently subverted. She plays with ambiguities of scale and distance. Small objects may dwarf a panoramic landscape. Balls of string may loom large, unravelling weightlessly or gathering solidity. Transparent floating spheres may be great or small, lenses or soap bubbles, with no horizon line to anchor them or to act as a point of reference. These subversions may be humorous, contemplative, lyrical, unsettling.
In the installation of her exhibitions, the paintings often work both as individual pieces and also as part of a larger, more speculative whole. In this context spatial relationships between the works indicate a continuity and movement through space. Abstract qualities inherent in the compositions become more apparent and patterns are created. The work may read as a kind of jigsaw puzzle whose pieces do not fit together. The desire of the viewer to find coherence and order is never quite fulfilled.
For several years Dena's work has used the glass case of the museum to explore the desire for order and perfection, and its impossibility. In these paintings single objects multiplied and distorted by reflection, threaten to dissolve into abstraction. Catalogue numbers float uncertainly; glass shelves, tilted away from the horizontal, appear unstable and precarious. A strong internal tension is created, lurking beneath the luscious colour and smooth, seductive surfaces. Perfection, as always, proves elusive.
Her most recent work explores the relationship between art and science. In the 19th century natural scientists meticulously recorded and classified marine animals by having them in made in glass. The exquisite models were a way of keeping the colour and delicacy of these ephemeral creatures as close to a real and eternal life as possible.
As a painter, her interest was caught by the strangeness of their forms and their seductive colour. In this series of paintings the scientific accuracy of the original models has been lost, along with all their classifications and identifications. Scale shifts. Sometimes even the original forms that were once made 'solid' in glass to fix them permanently have shed their clear outlines and begun to flow into each other.
In her paintings and watercolours Dena re-discovers these specimens as strange surreal objects, more like a fantasy garden or a bizarre aquarium than scientific tools in a museum case.
Dena lives and works in Melbourne. She is represented by Gallerysmith, Melbourne.