Pop- Works of art like Christopher Langton have caused polarization among critics. Ella Coslovich reports. Inflatable sculptures and paintings by Christopher Langton need attention. As smooth as sin, shining like a supermodel mouth, they are tempting and teasing. The works were once banter and menacing, dominating the space of the Tolarno Gallery in Flinders Lane and threatening to invade it. A person basks in front of them and feels a little dirty by being happy. They made love. Violent hate bliss- Satisfy immediately, then repent. The large and colorful inflatable disk hanging on the wall is reminiscent of a heat map or a topographic map. Pulse, an energetic sphere bursts, and the color of the irregular concentric line saturation radiates from the hot core of the sheet The sky blue is red around. Then Brad and Jen. a moon-In the face of the duo, big- Eye and cartoon It\'s like Jane and Betty Bo share amazing similarities. The couple are surrounded by thought bubbles in which they sincerely announce their eternal dedication: \"I love you, Brad. \"I love you too, Jane. \"These empty couples are inspired by their names, the darling of female doctors Brad Pitt and Jennifer Aniston. Turning corner is another expanding disc that beats with different passions. It\'s closer than life-up of a blow- Get up doll, separate lips, give me the title (I Can Take It). No explanation required Then there is the weird pleasure caused by the large canvas to the south. A work of decoration, in the background of tropical paradise blue, stars in rows and rows shine with the burning scarlet red heart. The work evokes the conflict between memory and image. The pool of childhood and wading, the lollipops cooked, blowing Toys, adult bookstores and \"marriage aid\", quirky PVC gear and chemical ecstasy. Langton named the show PrOn, a crossword puzzle that is not difficult to decipher. \"This is for me. . . Pornography in the art world; \"It\'s like cheap sex,\" he said, sitting in the quiet backyard of Northcott\'s house. \"It\'s all superficial and, according to people, there\'s no depth or meaning. You looked at it once and then forgot it in five seconds, so I was playing with these ideas. \"Maybe he was referring to past comments. Art critic Peter Timms, who demonstrated the persistence of pop music in his analysis of the Monash University group, attacked the work of Australian artists working in pop music The vein of art, which finds many works \"dull and formulaic\", makes no sense --Langton\'s blow- There are kangaroos in the middle. However, critic and filmmaker Philip broffy has found a lot to ponder in Langton\'s latest work. Brophy compared Langton\'s high in his intensive catalogue article for the show Canvas and inflatable device with luster to skin \"Icing on the meat cake \"-- Everything is cited from the nightmare of Elm Street to the iconic art of orthodox religion along the way. Ironically, the first one The floor studio space for Langton\'s latest inflatable toy has been dissolved in the ether, rising in smoke. All the rest of the space, a former ballet studio, is two black beams, burnt, rippling in a lifetime of charcoal supply, cut off on a clear winter sky The burnt floor is covered with a green tarp to prevent rain from penetrating into the floor below, a former storage area that is now used as a temporary work area in Langton. This temporary studio is in sharp contrast to the cheeky sculptures made by Langton. It has no visual stimulation unless you count the notes the artist wrote to yourself on the whiteboard. I know Tony Elwood, deputy director of the National Gallery of Victoria, is lining up to buy a bottle of wine if Langton can finish the task. There are two long trestle tables that look like a studio. Below are the Rolls of PVC and Masking materials, some wood and remnants of past exhibitions -- A deflated koala, a piece of plastic discarded. In a pungent Smelling corners, the shelves are filled with steel paint cans with memorable labels such as oranges, avocado greens, cream freezes and sapphire blue. The cardboard milkshake container is filled with a toxic silver paint mixture. Other cans contain \"VIP onds isocryl\" with a \"dangerous\" warning. The solvent is stored in large plastic tanks, and the household paint, indoor acrylic resin and super enamel gloss tanks are piled up on the concrete floor. These toxic and flammable substances did not cause the first fire to destroy Langton. The floor studio a year ago, but they fuel the subsequent fireworks show. The exhaust fan left by Langton after work triggered a fire that turned into a bonfire that exploded paint cans and solvents. Langton\'s step- The daughter slept in a room near the sculptor\'s studio, was woken up by noise and alerted her family. Fortunately, the fire did not spread to nearby buildings and no one was injured. But the incident delayed Landon\'s performance in Torano for a year. \"The biggest disappointment for me was the loss of the next show. . . \"My Computer and materials were lost and a lot of plastic was stored,\" he said . \". In the past 14 months, Langton has re-created his lost work. After the evil joy of face-to-face with Langton\'s inflatable toys subsided, people began to wonder how he made them so smooth. His sculpture is reminiscent of some works by another Melbourne artist Patricia Piccini, who represented Australia at the Venice Biennale this year. Yes, there are all kinds of connections. Together at the Victoria School of Art, Langton and Piccini are colleagues. The founder of a basement artist that no longer exists. run space. The two also played two performances together. Last year, at the Institute of Modern Art in Brisbane and in the plastic life of the new State Art Gallery in 2000, the terrain was modified. But while Piccinini hired sculptors and other assistants to make sculptures, such as her \"car nuggets\", Landon created all of his works, which were received by Ann Jeff corns, colas Oldenburg and American artist Paul McCarthy, who currently have two huge inflatable devices Stupid man and Daddy\'s stupid man. Located outside Tate Modern London. Born in South Africa, Langton immigrated to Australia at the age of 19 in 1973, studying science at New England University in amidale, new state, where he completed a diploma in the arts in ceramics before moving to Bendigo College. He soon discovered that the medium was too limited and began to try other materials. In early 1990, he began to dismantle small inflatable toys to see how they were designed and then apply the process to the larger-scale works. \"I didn\'t know anything about inflatable toys at first, so it was a self \"This is a teaching process,\" he said. \"No one else did. You can produce them commercially, but the price is expensive and I am more interested in doing it myself and giving me flexibility. \"Even though it took me a long time to develop it, it was a very simple process in my process of rolling out flexible plastic, PVC sheets, using templates to paint on the surface, then cut the pattern and glue it together. This is very much like a tailor. \"Because the paint is painted on the back of the PVC, when the work is done, the plastic surface will play a protective role and will also bring a striking luster to his sculpture. \"You drew it from the back, so when you look at it from the front, it becomes very smooth because you look at it through PVC. People see (my work) They think it\'s made commercially, and it\'s made by hand. made . . . \"I like this paradox,\" said the gentle-spoken artist. Langton also put a lot of time into designing a paint formula that is flexible enough to withstand cracking when applied to PVC and inflatable. \"I \'ve really worked hard over the last four years to develop my own paint and I \'ve mixed it up. I use all of these pigments, as well as polyurethane bottoms and solvents. . . Then spray it with a spray gun and it really sticks to the PVC. \"Images found on the Internet, magazines and even in the depths of his own body inspired his design. Influenced by his wife, Diane Mainwaring, Langton did a brain scan at the Brain Science Institute at the University of Swinburne and manipulated the resulting image on the computer to design for some of his inflatable discs. He said: \"When I manipulate them, they become the scenery of the mind like a map . \" Although Langton did not like this image as Piccini did, he was calmly pleased that he was still exhibiting after 26 years of operation. \"The living environment is very hard,\" he said . \" \"You look around and you go to art school with a lot of people and they don\'t produce anymore. This is quite satisfactory for me. I want to be more comfortable, but I\'m still doing art. \"Until Saturday, August 23, 2003, Christopher Langton\'s PrOn was on display at Torano Gallery, 4 th Floor, 289 Flinders Lane, Melbourne.