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David Rosetzky - Banner Image

Patricia Piccinini | The stags 2008 | ABS plastic, automotive paint, plastic, stainless steel, leather, rubber tyres, ed. 1/3 | Purchased 2009 with funds from the Estate of Lawrence F King in memory of the late Mr and Mrs SW King through the Queensland Art Gallery Foundation and the Queensland Government's Gallery of Modern Art Acquisitions Fund | Collection: Queensland Art Gallery | Installed at the Gallery of Modern Art for ‘Contemporary Australia: Optimism’, November 2008 | Photograph: Natasha Harth | View full image

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David Rosetzky

David_Rosetzky_-_Untouchable.jpg

David Rosetzky | Australia b.1970 | Untouchable (DVD still) 2003 | DVD (3 channels) and Digital Betacam formats: 18:38 minutes, colour, sound ed. 2/3 | 100 x 515 x 230cm (installed, variable) | Purchased 2005. The Queensland Government's Queensland Gallery of Modern Art Acquisitions Fund | Collection: Queensland Art Gallery | Image courtesy: The artist and Kaliman Gallery

ROSETZKY David, Untouchable 2003

David Rosetzky
Australia b.1970
Untouchable (DVD still) 2003
DVD (3 channels) and Digital Betacam formats: 18:38 minutes, colour, sound
ed. 2/3
100 x 515 x 230cm (installed, variable)
Purchased 2005. The Queensland Government's Queensland Gallery of Modern Art Acquisitions Fund
Collection: Queensland Art Gallery
Image courtesy: The artist and Kaliman Gallery

David Rosetzky

Untouchable 2003

David Rosetzky is a leading young Australian artist working in video and video installation. His works employ a range of artistic and aesthetic techniques including contemporary design, fashion and portraiture. 

Rosetzky scrutinises aspects of the contemporary condition through the issues of identity and relationships, love and alienation. Rosetzky’s subjects often appear within chic, minimal settings or among the latest designer furniture. They explore worlds that are familiar and intimate, yet estranged.

In Untouchable, a small cast of characters play out scenes in which they divulge their intimate confessions and anxieties. These mini narratives have the stylised, emotional feel of television soap opera. We soon realise that speeches have been swapped between speakers, calling into question both the origins of their stories and the identities of the characters.

Rosetzky’s video installations explore the boundaries between subject and viewer. In Untouchable, the three video screens appear as windows in a contemporary ‘retro’ house. The viewers are positioned as both observers and confidantes within these ‘real-life dramas’.

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