Collins St, 5pm

In the Weekend Australian a couple of weeks ago I read an extended article about John Brack's work. It was largely critical, the author's main gripe being how remote Brack was from his subject, how unsympathetic. The painting below, Collins St, 5pm, is the example most often cited when discussing this aspect of his work.


If we're discussing his nudes I agree. I don't like them either, and for the same reason. But today I'd like to argue in favour of Collins St, 5pm.

A common interpretation of this painting is that it depicts the old faceless automaton, the mindless drones returning from slaving witlessly for The Man, heading back to their sterile boxes like sheep. Get a grip. That view is lazy and ignorant.

As most people who do it daily know, commuting is the only time in some people's day they have to themselves. That's certainly how it is for me. And it's a time when no-one asks too much of you. For me, it's that precious window between where-are-my-glasses-no-put-that-down-don't-bite-your-sister-eat-your-toast-don't-forget-to-hang-out-the-washing and have-you-sent-that-email-what's-the-deadline-on-that-and-can-I-have-an-extension-what's-to-be-done-about-the-coffee-machine. You can go into standby, conserve some energy or build some, or absorb yourself thoroughly in your thoughts. Prepare yourself. Just be.

And those faces that Brack put on that canvas all those decades ago are doing just that. To one person, they may be blank and moronic. To me, they are thoughtful, going over the events of the day and planning what to have for dinner, and perhaps just tired. Just as people are at peak hour.